Washington City Paper (November 30, 2018)

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NEWS: HEADS ROLL AT DCRA; PROBLEMS REMAIN 5 FOOD: A DECADE OF EATING BOWLS IN D.C. 15 FILM: LOVE, WAR, AND PETS AT EU FILM FEST 25

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After decades of pressure to diversify, D.C. newsrooms remain far whiter than the communities they cover. P. 10

By Christina Sturdivant Sani

2 november 30, 2018 washingtoncitypaper.com

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COVER STORY: OFF BALANCE

10 The reality of being a black journalist covering local D.C. news

DISTRICT LINE 5 Loose Lips: DCRA’s director is out but the problems she was sent to fix remain.

6 Housing Complex: Serious safety issues may have delayed a luxury hotel’s final occupancy certificate.

7 Power Play: MSNBC anchors disregard federal rules with their National Archives wedding.

SPORTS 8 Bouncing Back: With help from coach and former Hoya Patrick Ewing, Georgetown’s men’s basketball team is on the rise.

9 Gear Prudence

FOOD 15 Growing Up Fast: The trials and tribulations of fast casual restaurant empires

ARTS 25 Slate of the Union: Selected reviews from the 31st European Union Film Showcase 27 Curtain Calls: Shah on An Inspector Calls at Sidney Harman Hall 28 Sketches: Devine on Between Worlds: The Art of Bill Traylor at the Smithsonian American Art Museum 29 Short Subjects: Gittell on The Favourite

CITY LIST 31 35 35 35 36

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DIVERSIONS 37 Savage Love 38 Classifieds 39 Crossword On the cover: Illustration

by Stephanie Rudig

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EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: MATT COHEN FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG CITY LIGHTS EDITOR: KAYLA RANDALL LOOSE LIPS REPORTER: MITCH RYALS HOUSING COMPLEX REPORTER: MORGAN BASKIN STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, SIDNEY THOMAS, DAN TROMBLY, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE Department of Deflections Heads roll at the Department of Consumer and Regulatory Affairs. Former director Melinda Bolling leaves behind a FOIA lawsuit and lingering problems.

It’s goIng to take more than Melinda Bolling’s departure to “unsuck” the D.C. Department of Consumer and Regulatory Affairs.

“It’s not that Melinda Bolling was the problem,” says Mark Eckenwiler, a Ward 6 ANC commissioner, DCRA crusader, and proud owner of the Twitter handle @unsuckDCRA. “The agency was the problem, and Bolling did next to nothing to solve it. It’s remarkable to me to see how little has changed in the past three years.”

Last week, Mayor Muriel Bowser’s handpicked director of the garbage fire of an agency— DCRA—left under vague circumstances. Susana Castillo, a spokesperson for the mayor, tells LL that Bolling left for another job outside the D.C. government but would not elaborate.

Bolling is being replaced by Ernest Chrappah, who, in addition to his current position as head of the Department of For-Hire Vehicles, will now also lead the $60 million, 437-person agency, responsible for everything from issuing building permits, to monitoring illegal construction to handing out business licenses. Castillo says there is no timeline for when a permanent replacement will be installed.

And just this week, three more high-level DCRA employees left their jobs, Castillo confirms. A D.C. government source tells City Paper that Deputy Director Lori Parris, Chief Administrative Officer Walter Crawford, and Kevin Edwards, the agency’s director of information systems, were all fired.

Bowser appointed Bolling in 2015 to reform the troubled agency. Yet what followed was a steady stream of more trouble. There were news reports of DCRA’s failure to enforce housing code violations and improperly issued building permits; official findings from the Office of Open Government pointed to public records law violations, and at least one DCRA employee pleaded guilty to accepting bribes.

Earlier this year, the Council considered a bill to split the massive agency in two. Council Chairman Phil Mendelson says Bolling’s exit is not a surprise and intends to reintroduce the bill to

LOOSE LIPS

split DCRA during the next Council Melinda Bolling period.

“DCRA has proven over the decades it is too cumbersome and unwieldy and does not have adequate focus on its different missions,” Mendelson says in an email. “In particular, housing code enforcement and preventing illegal construction.”

Eckenwiler, who is an attorney, has pushed DCRA to improve for at least the past three years. In addition to what he describes as mismanagement that empowers shady house flippers, he sees obstruction and stall tactics that hide in- Open Government and the Mayor’s Office of formation from the public.

Legal Affairs. Both agencies stressed to Bolling Indeed, a lawsuit filed this year by Genet the importance of complying with the public Amare, a Freedom of Information Act offi- records laws, including the requirement to cer at DCRA, accuses Bolling of hamstring- provide records by the deadline spelled out in ing DCRA’s ability to respond to records re- the statute. Bolling “made it known that she quests in a timely manner in an agency where was not concerned about strict adherence to a backlog already existed. Amare also claims the FOIA deadlines or with any lawsuits or apBolling retaliated against her for speaking out peals which may be filed as a result of FOIA viagainst Bolling’s unethical directives. olations,” the lawsuit says.

By November 2017, Betsy Cavendish, the DCRA hIReD AmARe in September 2017 but mayor’s general counsel, emailed Bolling tellprovided little training on how to gather pub- ing her that Amare’s concerns were “a potenlic records from within the massive agency, ac- tially embarrassing and serious situation for cording to the lawsuit Amare filed against Bol- the Mayor and the administration,” accordling and the D.C. government in August. ing to the lawsuit.

Castillo declined to comment on the lawFurther, Cavendish wrote that FOIA is “one suit because the case is still pending, but says of the few statutes that has clear, statutory deadBolling’s departure was not related to Amare’s lines and DCRA needs a process to ensure that complaint. Efforts to reach Bolling for com- it is successful in complying with FOIA law. The ment were unsuccessful. penalties and potential lawsuits are serious, and For Amare, the first red flag was Bolling’s di- efforts to comply will greatly mitigate the rise rective to DCRA division managers and their of any claims that the Department is arbitraristaff to not assist in collecting public records, ac- ly engaging in non-compliance. We do not view cording to her lawsuit. Without adequate train- lawsuits as risking merely a slap on the wrist.” ing for FOIA officers and without assistance For three months after Cavendish’s email, from employees who are more familiar with Amare believes that Bolling targeted her, and DCRA’s internal databases, Bolling risked ex- the agency fired Amare in February of this year. posing the agency to litigation, according to an But a week later, the D.C. human resources deopinion from D.C.’s Office of Open Government. partment overturned her termination. Amare Bolling also directed Amare to lie about how is still working as a FOIA officer, but according public records were gathered, according to the to her lawsuit, believes she’s been passed over lawsuit. Doing so could jeopardize her license for multiple promotions and subjected to a hosto practice law, argues Amare’s attorney, Da- tile work environment due to her speaking out vid Branch. against dysfunction and unethical directives.

Amare sought assistance from the Office of The District has until Dec. 7 to respond to

Darrow Montgomery/File

By Mitch Ryals

Amare’s accusations. A hearing is scheduled for January 2019.

“There are quite a few employees who believe Director Bolling abused her authority in running the agency,” says Branch, who has handled other employment related cases against the government. “Anyone who challenged her authority was dealt with severely.”

FoR eCkenwIleR, the ANC commissioner, DCRA’s opacity is no surprise. He’s been pushing DCRA to publish building permit files on its website, as required by law, since at least 2015.

A 2016 finding by the D.C. Office of Open Government notes that Bolling and Brandon Bass, a FOIA officer in 2015, claimed to be unaware that the agency was required to publish permit documents on its website. But Traci Hughes, former director for the Office of Open Government, called bullshit.

In her finding, Hughes notes that Bolling was the DCRA general counsel before Bowser appointed her as director. And Bass had attended two FOIA trainings conducted by Hughes in which she personally instructed him on what documents are subject to mandatory disclosure.

Hughes ordered DCRA to publish those documents online, but also noted that the “antiquated” legacy IT systems are a significant hurdle to complying.

“To be fair, there have been some improvements on the margins, and there is more information online today than there used to be,” says Eckenwiler. “But they’re still not in compliance with the law.”

For former DCRA employees Gary and Delaine Englebert, the problems at DCRA transcend Bolling’s tenure. Gary Englebert sees Bolling as someone caught between a mayor’s priorities and bad advice from underlings.

“She might not be a good manager, but she’s a good individual,” says Gary Englebert, who worked for DCRA for a total of six years.

Delaine Englebert, who worked for DCRA during three mayoral administrations, says that each new regime brings its own agenda for the agency.

“That should not happen,” she says, “not as far as permits and inspections go. Those are objective processes. Or they should be.” CP

washingtoncitypaper.com november 30, 2018 5

DISTRICTLINE Out of Line porary Certificates of Occupancy is an attempt to disingenuously extend the construction period for one purpose: to delay when the hotel must begin complying with the conditions of the tax abatement and still receive the abatement in full,” Ward 1 Councilmember Brianne Nadeau wrote to City Administrator Rashad Young in early June.

ber of outstanding safety issues in the hotel that precluded DCRA from issuing a final certificate of occupancy.

On June 12, a deputy zoning administrator in DCRA flagged 11 inspection issues at the property, which included “fire alarm in trouble” and improperly installed handrails and other accessibility features.

These “immediate life safety issues,” as Sydell management referred to them in communications with DCRA, include blocked exit paths and sprinklers that didn’t comply with D.C. fire code.

On June 18, The Line’s director of security submitted a memo to D.C. Fire and EMS acknowledging that a DCRA fire inspector located three sprinkler heads along one floor of the property that did not comply with the fire code.

Consequently, the hotel hired five “fire watch personnel”––at $35,000 per week––from a private security company that serves the region, to patrol that floor in the event of an emergency.

DC FEMS fire watch was in-place, however the supervisor had to remove people from vehicles in the garage upon my arrival[.] Based on these findings, the inspection has been disapproved at this time.”

In a subsequent email to DCRA, Phil Hospod, Sydell’s vice president of development, said that Sydell has “given our Fire Watch service a stern warning that they cannot be sitting in vehicles during their service and do not expect it to happen again.” He later refers to inspection issues regarding egress paths in a stairwell, which were apparently being used as storage for “chairs and other hotel operations,” according to a DCRA employee, as “frustrating and embarrassing.”

Other inspections issues include covered sprinkler heads, restricted exits, noncompliance with minimum head clearance requirements, and the garage being used as storage.

(Hospod did not respond to City Paper’s request for comment.)

But documents obtained through a Freedom of Information Act request and provided to City Paper indicate that structural and safety compliance issues in the building itself were a significant factor in Sydell’s decision to apply for (and DCRA’s decision to issue) temporary, rather than permanent, occupancy certificates. They detail the structural and logistical issues the hotel faced in the months between its soft opening last December and the date it received its final Certificate of Occupancy.

The documents, including dozens of emails between employees of Sydell and DCRA, show that the District flagged a num-

But on June 20, a DCRA employee emailed Seth Dubner, a Sydell employee and project manager of The Line, to say that Sydell’s efforts to ameliorate the sprinkler issues weren’t sufficient, because the fire watch team wasn’t actively patrolling the hotel. Instead, they were apparently sitting inside their car.

“In a meeting held with the Owner, and DCRA on June 14 2018, DCRA clearly indicated the minimum requirements for the Conditional Occupancy to be issued, and confirmed via email on Jun [sic] 18, 2018,” the DCRA employee wrote. “An inspection [was] performed this morning with the following results: The

And as of June 11, the emails show, the Department of Energy and Environment had not yet completed final inspections for erosion, sediment control, and stormwater management that are necessary for the agency to issue a final approval notice. Subsequent inspections at the end of June by DCRA appear to have cleared the hotel of these issues.

By the end of July, the DCRA employee emailed Dubner and Hospod to say that DCRA “has processed your application [and] it is ready for pick-up on the fourth floor.”

“OMG,” a legislative affairs officer at DCRA replied, “is this the final C of O?” CP

By Morgan Baskin Early this summEr, Ward 1 neighbors and lawmakers directed a fresh wave of scrutiny at The Line Hotel in Adams Morgan after revelations that the hotel was operating under a series of temporary certificates of occupancy, despite the fact that the hotel appeared to be fully operational as far back as December of 2017.

They also criticized the Department of Consumer and Regulatory Affairs, the District agency responsible for issuing them. But documents provided to City Paper, which detail the challenges the hotel’s owner faced in complying with DCRA’s occupancy requirements, help explain why the agency did not issue a final certificate of occupancy until August of this year.

“It was set up for failure from day one.”

That’s how the president of a subcontracting company who completed work on The Line described the project to City Paper in early November, when we first reported that dozens of subcontracting companies await payment for work they completed on the hotel years ago.

Critics slammed the developers of the building, converted from a church at the intersection of Columbia Road NW and Euclid Street NW to a luxury hotel where rooms can run nearly $400 per night, for their apparent lack of compliance with D.C.’s “first source” law. That law requires the majority of construction workers redeveloping the building be D.C. residents, and District employees have warned since the fall of 2016 that it appeared unlikely that Sydell, the New York-based owner of The Line, would meet those requirements.

Consequently, onlookers have speculated for months that the hotel received these temporary certificates of occupancy––a dozen of them, between November of 2017 and June of 2018––to stave off an audit of Sydell’s compliance with first source rules, which the issuance of a final occupancy certificate would trigger.

Compliance with this law is also a condition to receiving a $46 million tax abatement from the District, which Sydell would receive over 20 years.

“I am concerned the procurement of Tem-

HOUSING COMPLEX

Darrow Montgomery

Safety and structural issues appear to have delayed a final occupancy certificate for The Line, a hotel as contentious as it is luxurious.

6 november 30, 2018 washingtoncitypaper.com

DISTRICTLINE

Power Play

Hosts of ‘Morning Joe’ get special treatment for their secret Archives wedding.

By Tom Sherwood Washington media poWer couple Joe Scarborough and Mika Brzezinski got married Saturday in the super secure Rotunda of the National Archives building on Pennsylvania Avenue NW. U.S. Rep. Elijah Cummings (D-Md.) officiated the small ceremony; photos show him and the couple just steps away from the glass-encased Declaration of Independence, U.S. Constitution, and Bill of Rights on display.

According to Vanity Fair, which exclusively covered the secret ceremony, Brzezinski wore a “stark-white, tea-length Milly dress with delicate, polka-dotted lace sleeves that swept into a sweetheart neckline by her friend, designer Michelle Smith.” Scarborough just wore one of his black Zegna suits with an affixed white orchid boutonniere.

It was the first time a wedding ceremony had been held in that spot since the building opened in 1935. Brzezinski told Vanity Fair that the couple chose the hallowed American location after attending a previous event there, saying, “It makes sense now more than ever, given what we stand for as a couple, what we do for a living, and what we’re worried about as a country.”

Apparently, the couple wasn’t worried about published federal regulations barring “primarily personal, political or fundraising” events within the National Archives. Federal rule 1280.84 specifically says, “... the use of the Rotunda for private events is not permitted.” And rule 1280.76 says that even permitted, official events “are not available during weekends or federal holidays.” The wedding was held at 6:30 p.m. on Saturday, after the Archives building was closed to the public.

According to Vanity Fair, the Archives opened after hours “to accommodate the couple and five guests, plus their children. It was the first time a wedding has ever been held there.”

Those guests included a canine companion, Brzezinski’s daughter Emilie’s dog Cali. The Archives’ accessibility statement “permits animals specifically trained to perform tasks for persons with disabilities,” but not therapy animals or pets.

There were five still cameras set up in the adjacent Rotunda gallery taking time-lapse photographs every five seconds, including recording the couple walking up four steps into the center of the main room of the Rotunda.

Cameras and flash photography are prohibit-

ed within the Rotunda itself. A roving still photographer also took photographs.

A published guide by the National Archives Foundation, the nonprofit that handles public events, says there is a $20,000 required contribution to use any part of the facility, plus $5,000 for “building management fees.” It could not be determined what, if any, fees were paid for the wedding event.

In a statement to City Paper late Tuesday, the National Archives Foundation said Brzezinski and Scarborough sought out the Archives almost a year ago after attending an unrelated event. “We were thrilled to be the venue Scarborough and Brzezinski selected for their wedding,” said Archives Foundation executive director Patrick Madden.

The Archives told City Paper that it first considered allowing weddings in 2014 and has spoken with wedding planners, but its pub-

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

Were You Born In Africa?

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

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

HELP ADVANCE HIV RESEARCH lic documents as of this week do not say weddings are allowed. It is now changing its rules and will begin accepting other wedding inquiries subject to its strict rules, saying it is looking forward “to welcoming more couples in the future who would like to host their nuptials at the National Archives.”

An MSNBC spokeswoman declined to discuss the co-hosts’ wedding, telling City Paper that “Mika and Joe declined comment.”

A spokesman for Rep. Cummings referred City Paper to his campaign office, which did not respond to an inquiry.

The Archives has stood at 700 Pennsylvania Avenue NW for 83 years. At the beginning of its construction in 1933, President Herbert Hoover laid the cornerstone, dedicating the unique building that was to hold some of the country’s most important documents. “This temple of our history will appropriately be one of the most beautiful buildings in America, an expression of the American soul,” he said at the time. “It will be one of the most durable, an expression of the American character.” CP

The NIH Vaccine Research Center is looking for people living with HIV in the DC-area to participate in a clinical trial. The study will evaluate an investigational product that targets the HIV virus.

You may be eligible if you: • Are living with HIV and between the ages of 18 and 60 • Are taking HIV medication

Financial compensation will be provided.

To volunteer, call 1-866-833-5433 (TTY 1-866-411-1010), email vaccines@nih.gov, or visit www.niaid.nih.giv/about/vrc.

Se habla español.

washingtoncitypaper.com november 30, 2018 7

Keith Allison/flickr

SPORTS

Bench players and a new lineup have sparked the Wizards’ recent victories. “Since we’ve made the lineup change, everybody’s just accepting their role,” John Wall says. “No one’s worried about who’s getting the ball.” washingtoncitypaper.com/sports

Bouncing Back

After years of frustration, Georgetown men’s basketball fans are enjoying what they see from this season’s team under Patrick Ewing.

By Kelyn Soong A heAvy loAd of school work prevented Lola Ogunsuyi from regularly watching the Georgetown men’s basketball team on TV for several years.

She would occasionally check scores online, but didn’t go out of her way to make time for games. Plus, Ogunsuyi reasoned, the Hoyas had perpetually underachieved and appeared to be trending downward under coach John Thompson III. In 2013, the second-seeded Georgetown lost to 15th seed Florida Gulf Coast in the round of 64 at the NCAA tournament. Early-round NCAA tournament exits and bids to the second-tier National Invitation Tournament became the norm. Even the most die-hard Georgetown fans began to sour.

But recent headlines suggest that things may be turning around. NBA and Georgetown legend Patrick Ewing, who replaced Thompson in 2017, has brought in a number of heralded players and is visibly more at ease in his second season in charge. After an 88-80 early-season victory over Illinois in which three freshmen combined for 45 points, fans wrote effusively about the team on Twitter.

Casual Hoya, an SB Nation website devoted to Georgetown faithfuls, tweeted: “Ladies and Gentleman, Georgetown Hoyas basketball is fun again.”

“They’re actually really good,” says Ogunsuyi, a 27-year-old Georgetown graduate student studying systems medicine. “I was surprised.”

At the start of the second half against Maryland Eastern Shore on Nov. 6, Georgetown freshman Mac McClung stole a pass and raced down the court before throwing down a twohanded double-pump reverse dunk. The announced crowd of 4,189 roared with approval.

Ever since the Gate City, Virginia, native broke Allen Iverson’s Virginia high school scoring record, fans have salivated at the chance to see the high-flying dunker in a Georgetown jersey.

He receives some of the loudest cheers inside Capital One Arena and his Georgetown game highlights routinely draw hundreds of

Georgetown University Athletics Communications

BASKETBALL

his index finger in the air. When he speaks, people listen. At 7 feet tall, the 56 -year- old Ewing still commands a certain respect that he earned over more than a decade in the NBA. He was inducted into the Naismith Memorial Basketball Hall of Fame in 2008.

“He just knows what he’s talking about,” says Trey Mourning, a fifth-year senior forward. “He’s one of the greatest players of all time. And if he doesn’t have the answer, he can call my father.

He can call anyone. I’m sure his contact list in his phone is pretty star-studded and he can get answers from them. He knows what he’s talking about and people want to play for him. He gets the best out of his players.”

Last season, Ewing led the Hoyas to a 10-1 start, but they struggled against Big East competition and finished 15-15 overall and third to last in the conference. Even as the team moves forward, the Thompson family—for better or for worse—still has a sizable influence in the program. John Thompson Jr. can be seen in the building on game days and he was one of the forces in recruiting Ewing for the job, according to Thomas Boswell of The Washington Post. Another of Big John’s sons, Ronny Thompson, is a full-time staff member on the men’s basketball team.

Early in Ewing’s tenure, questions arose about whether he or the legendary former coach would be in control of the program, a notion that Ewing has dismissed as insulting. In an interview with The Post last year, Ewing asserted that there is nothing wrong with Thompson’s outsized presence at Georgetown.

“I’ve been working at this craft [of coaching] for a lot of years. It’s not like I just stopped

thousands of views on YouTube. McClung fever has officially arrived on The Hilltop.

“There were a lot of eyeballs on him even as a high school kid,” says Ankit Reddy, a Georgetown sophomore from Dallas. “People knew about him, like OK, there’s this explosive white kid, which you don’t really see, you know? The fact that he’s at Georgetown, that’s attracted a bigger audience to the team.”

While Georgetown freshmen are prohibited from talking to the media until their second semester, players like McClung, James Akinjo, and Josh LeBlanc, have let their games, teammates, and even NBA champions speak for their impact. Akinjo is the second leading scorer on the team with 13.5 points per game for the 5-1 Hoyas heading into the Nov. 28 contest against Richmond. The guard from Oakland, California, was named Big East Freshman of the Week earlier this month.

“Their guard play is amazing,” says 2006 NBA champion Alonzo Mourning, who was in town over Thanksgiving break to watch his son, Trey, finish with a career-best 27 points and 12 rebounds against Campbell University. “Both of those guys [McClung and Akinjo] are going to be fun to watch for years to come.”

During a lull in play against Campbell, Ewing’s deep, booming voice can be heard all across the cavernous arena.

“Move here!” he instructs his players, jabbing

8 november 30, 2018 washingtoncitypaper.com

playing [in the NBA] ... I’m my own person. It’s my program,” Ewing said. But, as Boswell noted, he doesn’t mind reaching out to Thompson if he needs to. “I’ll never let anyone come between [us].”

Fans like Ogunsuyi understand that the team is still rebuilding. The Hoyas have missed the NCAA tournament the past three seasons and they will soon face stiffer competition during conference play in the Big East.

But for her, it’s clear that Georgetown is pushing years of disappointment and heartaches further into the past with each electrifying McClung dunk or infectious laugh from Ewing.

A Toronto-area native, she had never been to D.C. before Georgetown accepted her into the school’s systems medicine master’s program. But for as long as she can remember, she’s been a fan of its men’s basketball team.

Her Nigeria-born dad first introduced her to the John Thompson Jr.-led Georgetown team in the 1990s, and she learned all about the storied history of the program, which includes the 1984 NCAA title. She has followed the team through its highs and lows—from the NCAA Final Four team in 2007 to the NIT bids to the hiring of Ewing, her favorite Georgetown basketball player, as coach last season to replace Thompson Jr.’s son, John Thompson III. And now, as a season ticket holder and student, she gets to watch her favorite basketball team live in person.

Late in the game against Campbell, the Georgetown men’s basketball team huddled across the court during a timeout, while Jack the Bulldog, the dancing, costumed Hoyas mascot, stared up at the dozens of fans gathered in the student section at Capital One Arena. Jack skipped back and forth behind the backboard for several seconds and pondered which lucky few that braved the freezing rain on the Saturday after Thanksgiving would be worthy of a free T-shirt.

“Ooh, I want a shirt! I want a shirt!” Ogunsuyi shouted from the front row. “Right here!

Right here!”

Jack pretended to not see her. The mascot faked throwing a shirt deep into the crowd as music drowned out some of Ogunsuyi’s pleas.

But she eventually wore Jack down, and the person behind the costume handed her one of the giveaways.

“Thank you!” a relieved Ogunsuyi screamed.

On the final possession against Campbell, LeBlanc, a freshman forward averaging 10.2 points per game, collected his fourth rebound to seal Georgetown’s 93-85 victory. Ogunsuyi thrusted both arms in the air, clapped her hands, and yelled, “Yes!” at the top of her lungs, her free T-shirt tucked away in her pocket. CP

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Gear Prudence

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Gear Prudence: What’s the best bridge for bicyclists in D.C.?

—Big Rivers In District Getting Eclipsed Dear BRIDGE: The one that takes them from where they are to where they want to go? GP surmises that you mean to ask: Which of the D.C. river bridges is best-designed for bicyclists? Unfortunately, it’s more a matter of overlooking deficiencies than singing praises.

Chain Bridge is rarely crowded, but the ramp is labyrinthine. The Key Bridge is heavily used by cyclists and pedestrians traveling in both directions, so it’s a slow-going dingfest—a victim of its own success. GP would rather not mention the Roosevelt Bridge, a mid-century mess with a narrow sidewalk that only connects on one side. Hope you pick the right one! The Memorial Bridge is a showcase historical bridge with reasonably wide shared paths, but the traffic circle on either end prevents it from being excellent.

The 14th Street Bridge does yeoman’s work, but gets pathletic (a ‘pathlete’ is a cyclist who rides competitively fast on trails) during rush hours.

The Douglass Bridge will soon be torn down and replaced, and that’s the nicest thing GP can say about it. The 11th Street Local Bridge is easily the best for bicyclists: It’s wide, the sight lines are good, and the slope is pleasant. The Sousa Bridge, uh, crosses the river, but the pathways are uninspired. Likewise, it’s possible to cross the Whitney Young Bridge by bike, but you won’t like it. And finally, the Benning Road Bridge gives way to narrow sidewalks on both ends, which is suboptimal. All in all, pretty crummy.

—GP Gear Prudence: You know how sometimes when there’s a staircase, there are thin ramps next to it where you’re supposed to put your bike to wheel it up? Does anyone actually find those ramps to be useful? They don’t seem to help at all. Maybe I’m doing something wrong, or maybe somebody needs to go back to mini-ramp-for-bikes design school. Stop installing things that don’t work!

—Goofy Ramps Often Offend Very Egregiously

Dear GROOVE: These are called runnels, and in theory, they’re supposed to make the process of bringing a bike up or down exterior stairs much easier for you. Place your tires in the guideway groove and push! But theory isn’t real life. Too often, these “features” are designed in a way to make them impractical, if not wholly unusable. Getting the bike in and out of the runnel can be hard, and if it’s anything other than one smooth straight diagonal, you may find it awkward making the transition at the joints. Some runnels are too close to walls or railings, causing you to smash your handlebars into whatever comes nearest. GP sympathizes. Niceties for bicyclists should actually be nice, and while maybe somebody doesn’t need to repeat all of miniramp-for-bikes design school, some continuing education credits would go a long way.

—GP

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OFF

BALANCE Black journalists are underrepresented in D.C. newsrooms. Here is why that’s a problem for everyone.

By Christina Sturdivant Sani Photographs by Darrow Montgomery

As A blAck journalist and native Washingtonian, I am equally proud to report local news and frustrated by my industry.

Beyond local black media, such as the Washington Afro American and the Washington Informer, there’s an underrepresentation of black journalists at print and digital outlets that cover D.C news.

In a city comprised of 47 percent black residents—the largest racial demographic in the city—it pains me that “mainstream” publications are majority white, most of them by a significant margin. It’s also telling that after writing for a dozen local news outlets, I’ve only had black editors at the Afro.

This underrepresentation of black reporters in staff and leadership positions results in non-existent or inaccurate coverage of D.C.’s diverse black communities, and it’s taxing on writers like myself who feel compelled to represent for an entire race of people.

Over the past six years, I’ve written for 18 publications. Early in my career, I freelanced for as many as seven outlets at a time—not because I wanted to, but because that’s how many gigs I needed to pursue my dream of becoming a journalist while managing the responsibilities of being a single mother.

Working for mostly local outlets, I built a career around my passion for writing and compassion for marginalized communities. That meant sharing the perspectives of my neigh-

bors when other journalists fell short in telling their stories, uncovering disparities years before other publications caught up, and shining a light on black residents when we feel invisible in this changing city.

I’ve made a point of writing for mainstream publications because they have the audiences who most need to read these stories.

My most challenging time as a black journalist was at DCist, where I was a staff writer from 2015 until 2017. I was, in fact, the first fulltime black staffer in the history of the publication, a long overdue feat considering the blog launched in 2004 when D.C. was still known as “Chocolate City.”

As a staff of all women, we made time to check in about everything from Tinder dating to endometriosis—things I wouldn’t have necessarily felt comfortable speaking about with men in the room.

What was never lost on me, though, was my presence as the only black person in our tiny WeWork office. In a fast-paced work environment, in which I wrote up to four stories a day, navigating a white space became claustrophobic. I sometimes wondered if certain stories were assigned to me stereotypically, because I’m black. I also had a self-imposed feeling of taking responsibility for all of the black stories.

Yet I didn’t want to get boxed in to all things east of the Anacostia River.

It was difficult to write about another black

10 november 30, 2018 washingtoncitypaper.com

man being murdered, or noose being hung, and there was no one in the room who could relate. It wasn’t that my colleagues wouldn’t have understood my need for a mental reprieve, it was that I didn’t always have the energy to explain it.

For solace, I befriend a black guy who worked for an organization down the hall.

We’d often meet up in the building to vent, laugh, and catch up on life. On multiple occasions after seeing us together, my colleague asked, “Was that guy bothering you?” I felt that she perceived my sole source of comfort as a threat. It was infuriating.

My body responded to my work anxiety with shortness of breath. For the last month of my employment, I couldn’t control it whether I was on or off the clock—just the thought of work made me panic. In late October 2017, I requested a weeklong vacation, during which time I searched for new jobs.

On Nov. 2, 2017, exactly two years after my first day, I got a call that DCist had abruptly shut down. (DCist’s parent company shuttered all of its sites about a week after its writers in New York voted to unionize.) After I hung up the phone, I exhaled. And several therapy sessions later, I learned how to breathe again.

Earlier this year, DCist was resurrected by WAMU—part of the broadcast media that’s locally more diverse than print. I decided not to

return, but hoped another black writer could pick up the mantle.

To my disappointment, that did not happen. In a statement, my former editor Rachel Sadon tells me that DCist is still committed to diversity in the hiring of both full-time and freelance writers. “Publishing work by writers from a variety of backgrounds makes for a stronger news outlet, one that better reflects the city that we seek to cover and brings to light a broader range of stories,” she says.

My experiences and the underrepresentation of black reporters at local publications is not limited to DCist. Many editorial staffs around town, including Washington City Paper, could use a heavy dose of melanin—to document D.C.’s historically black culture and preserve the wellness of its black journalists.

Over the past few months, I’ve sought to find out why the landscape looks this way, how that impacts news coverage and other reporters, and what needs to happen to reach racial parity in our local news media.

ObviOusly, the discussiOn about diversity in print media kicked off long before I started writing. The movement spans decades.

In response to a series of race riots in the summer of 1967, a government advisory board called the Kerner Commission urged white media outlets to expand coverage of black communities and race problems “through per-

came less interested employing black journalists, according to Shipp. Editors began hiring Latinx and Asian reporters to satisfy their diversity quota. “In some cases, maybe some of the other folks were not as much trouble as [black people]. We were vocal. They were probably looking for somebody who wasn’t as vocal,” she says.

A spokesman for The Post declined to comment for this story or allow me to interview a staffer. Instead, he pointed me to the newspaper’s ASNE diversity survey results for 2018.

The data show that, in the more than four decades since the Metro Seven complaint, The Post’s overall percentage of black reporters is three points higher. With all staffers of color making up 39 percent of the newsroom, the newspaper is still one of the most diverse of comparable size.

What’s more telling at The Post could be the diversity of its leadership. Kevin Merida became the first African-American managing editor of the newspaper in 2013. Two years later, he stepped down to become editor-in-chief at ESPN’s The Undefeated.

At this point, according to Prince, “you don’t have anybody leading any news departments at The Post who’s African-American— and that shows up from time to time in news judgement.”

manent assignment of reporters familiar with urban and racial affairs.”

Immediately after the Kerner report, “most of the media companies started doing a bit to address the problem, and it’s been a big fight since,” according to E.R. Shipp, a black reporter who won a Pulitzer Prize for her New York Daily News columns on race, welfare, and other social issues.

In 1972, a group of black reporters at The Washington Post filed an Equal Employment Opportunity Commission complaint against the newspaper. Of The Post’s 396 employees, 9 percent were black; and black reporters comprised 17 percent of the Metro staff. These were the highest percentages of black reporters at a U.S. newspaper with a circulation of more than 10,000 at the time.

But in a city that was 71 percent black, the reporters, who became known as the “Metro Seven,” demanded that more black journalists be hired and promoted across all sections of the paper, and that more of them were allowed to cover the local black community.

For the record: “You don’t have to be black to report on black communities,” says Richard Prince, a member of the Metro Seven.

The Kerner Commission recommended that media outlets report on black communities whether they have black reporters or not, he points out.

But the devil is in the details. White report-

Christina Sturdivant Sani ers “miss a lot of the nuance sometimes and that can be embarrassing and hurt your credibility,” explains Prince, who now runs the website Journal-isms, which is dedicated to discussing diversity issues in the news media.

Though the Metro Seven decided not to sue the newspaper for financial reasons, the landmark complaint inspired discrimination suits at papers in the years to come. And in 1978, the American Society of News Editors (ASNE) launched a diversity survey to track employment trends in U.S. newsrooms.

“We feel that a diverse and inclusive newsroom is very important to any organization being able to cover the news of their community—it ties in with trust and truth,” says Teri Hayt, the organization’s executive director.

ASNE has used its survey to measure its goal of racial parity. That means the percentage of minorities working in newsrooms across the country should equally reflect the country’s minority population.

To be clear, I asked Hayt: D.C. is 47 percent

black, so each publication in the city should be comprised of 47 percent black reporters?

“When you say parity and you put that number out there, yes, that sounds right,” she says, adding immediately that national print media is a long way to reaching the equality goal that ASNE originally set for 2000, then later pushed to 2020, and again to 2025.

By the 1980s, it had become cool to push for diverse newsrooms, says Shipp, who’s now a journalism professor at Morgan State University, a historically black college in Baltimore.

“You would go to any convention and white folks were falling all over themselves” trying to hire black reporters.

Hamil Harris, who also teaches at Morgan State, came to The Post in 1992. There seemed to be a lot of black reporters, plus editors who were African-American, says Harris, who now occasionally writes for City Paper and other outlets. “It was an exciting time. They were people of color and they were damn good.”

But as the ’90s inched on, publications be-

EarliEr this yEar, another local publication was under question from black D.C. residents after a botched marketing campaign. On its Instagram page, Washingtonian posted a series of photos featuring people modeling the magazine’s new T-shirts that read “I’m not a tourist. I live here.”

“I had a visceral reaction of anger because I’m from here and nobody who looks like me was represented,” says Micha Green, editor of the Afro.

After a few hours of backlash on social media, Washingtonian deleted the Instagram post and CEO Cathy Merrill Williams apologized, writing that the campaign “did not represent the wonderfully diverse city in which we live.”

Less than a week later, activist Tony Lewis Jr. and entrepreneur Angel Anderson hosted a photo shoot at Union Market for native Washingtonians, which Green covered for the Afro. “There were primarily black D.C. natives wearing all black and showing their D.C. pride,” Green says. “It felt beautiful—like unexpectedly walking into a family reunion. I knew I would see people I knew and people I didn’t know, but I didn’t think it was going to be hundreds gathered in celebration for being D.C. natives of color.”

Inside the newsroom, Washingtonian’s editorial staff has used the incident as an opportunity for reflection and growth. “The fact that people took [the ad campaign] as some sort of comment about the magazine made me really sad because I think we actually work very hard to present the whole region and everyone who lives in it,” says the magazine’s editor Michael Schaffer.

The incident has affected the way Elliot Williams, a black assistant editor at Wash-

washingtoncitypaper.com november 30, 2018 11

ingtonian, reports and looks for stories. “It’s tough being a reporter—your job is literally to put things out there in the public every single day and with that comes a huge responsibility,” says Williams, who was a fellow at the magazine when the campaign rolled out. “Seeing how much that hurt people was eye-opening and doesn’t reflect what the editorial staff tries to do.”

Williams, 25, and staff writer Brittany Shepherd, 24, were hired shortly after the campaign. While they’re the first full-time black staffers on the magazine’s 16-member editorial team since Schaffer took over in 2014, the editor says he didn’t hire them solely based on race.

“I think the ability to be involved in life in different communities in Washington is a qualification itself. I don’t just mean demographic communities but people who know the suburbs pretty well, people who know the city, people who can call up and get stories out of Republicans,” Schaffer says, adding that the general interest magazine caters to a regional audience, not just D.C.’s city limits.

After the backlash, Schaffer invited Lewis Jr. to the office. Both Williams and Shepherd were at the meeting where they discussed ways to collaborate on stories in the future.

While Williams says the incident showed him how important his voice is at the magazine, being one of a few black writers is still a balancing act.

“You don’t want to only pitch black stories because you don’t want to get pigeonholed as the black writer, but it’s tough because you want to be the one who covers the things that involve your community,” he says. “You already feel like if someone scoops a good story, ‘that should have been me,’ but I think the feeling intensifies if my white colleague writes about some really cool black event. But at the same time, you don’t want to be the goto black reporter.”

Paper’s 11-member editorial team. She was hired as City Lights editor in the fall of 2017 after working as a Washingtonian fellow.

“After we interviewed Kayla, it was immediately unanimous that she was the best person for that job,” says City Paper’s arts editor Matt Cohen, touting Randall’s skills and experience. It was also “her perspective as a black woman,” which he says was “sorely needed” on staff.

“When we hire people, we want to add voices to our newsroom that will help us think differently,” he says. “If we’re a newsroom of a bunch of white people or white men or whatever, that perspective is limiting. So when you have a newsroom of people from different backgrounds, we have conversations about how we should be covering stuff from multiple perspectives and that is definitely something that we think about a lot in our hiring.”

Randall has taken on this challenge with confidence. “Other people will never know or

Jelani Cobb, an author, professor, and staff writer at The New Yorker, wrote a piece for The Guardian earlier this month titled “When newsrooms are dominated by white people, they miss crucial facts.” In it, he talked about his first paid gig at a majority-white publication. Washington City Paper editor David Carr gave him that opportunity in 1996.

At the time, City Paper was known to have “chilly relations with much of the city’s majority black population. In addition to the lack of minority representation on staff, the paper’s critical coverage of the mayoralty of Marion Barry was often read as thinly veiled racial condescension,” Cobb wrote.

To diversify the staff and plug holes in City Paper’s coverage, Carr created a paid internship program, according to Cobb, who was part of the first cohort alongside Holly Bass, now a writer and playwright; Neil Drumming, currently a producer with This American Life; and Ta-Nehisi Coates, a National Book Award winner and a MacArthur Foundation “genius” grant recipient.

More than two decades later, Kayla Randall is the only full-time black staffer on City 12 november 30, 2018 washingtoncitypaper.com

understand the black experience—it doesn’t matter how much you tell them, how many stories you write, how many Ta-Nehisi Coates books you give them. They’re not going to know what it’s like to be black in this world,” she says. “That’s why we need to be in these spaces, otherwise you’re erasing us, you’re erasing our culture—whether you mean to or not.”

She also acknowledges that not everyone carries this burden. “Some black people move through life without being conscious of their own racial makeup and how the world sees them, but I can’t do that.”

Being a conscious black reporter requires the will to defend yourself. At 24 years old, Randall has grappled with this weight after being one of few black writers in majoritywhite spaces.

“If you’re young and black, you’re afraid of a lot of things,” she says. “You almost distrust your own feelings because you’re not sure what you’re feeling is what’s actually go-

Richard Prince

ing on—you second guess yourself because society has taught you that you shouldn’t jump to race as a factor, or it’s all in your head, it’s not really happening ... nobody’s discriminating here.”

You don’t want to be the person to bring up race issues, you want everything to go smoothly, she says. “I feel weird speaking about things that offend me sometimes, but I have to push that doubt aside because my feelings are valid.”

The office culture at City Paper “isn’t buttoned-up, which is good for me,” Randall says.

“People are allowed to speak their minds.”

At Washingtonian, Shepherd also feels comfortable using her voice, which she doesn’t take for granted. “I know people who work at places where tone-policing is something that’s really prominent—that’s something that I was aware of in the previous jobs I held. I’m black, so I can’t be the loud black person … I can’t be the angry black woman.”

There are times at Washingtonian when she disagrees with editors. “I’m very loud about it,” she says. “That kind of attitude has been well received—they appreciate people who fight, even if they don’t necessarily agree on a pitch all the way.” She is, in fact, able to express a full range of emotions.

“I’ve been able to be angry, sad, cry in my office, and be this electric person—I’ve never had that shut down.”

But there’s also something to be said for having people with similar cultural experiences in the place where you spend the majority of your day. During stressful times, such as an onslaught of police brutality in the news, Shepherd turns to Williams or Rosa Cartagena, a Latinx web producer at Washingtonian.

“I can go and shoot the shit about that stuff [with them] and it makes me feel a little bit more comfortable.”

Williams agrees. “It’s almost like in college when you go to your black friends and connect with them in the way that you might not with your white friends—it’s not to say that you don’t have a connection with your white friends, but you were able to connect over things in your culture,” he says.

At City Paper, Randall connects with black staffers on other teams. “Our advertising side has powerful black people who are in charge and that makes me happy,” she says. “I see them everyday, we go to the kitchen, we talk to each other—so I don’t feel uncomfortable, like ‘Oh my God, there’s no black people in this building.’” i interviewed more than a dozen journalists for this article, hoping to get a better understanding of why, exactly, there aren’t more black reporters at our local news desks.

There was at least one consensus: It’s not because there aren’t enough qualified black reporters to hire. “I call bullshit on that,” says Jason Zaragoza, the executive director at the Association of Alternative Newsmedia (AAN), of which City Paper is a member.

As a Mexican-American reporter, he’s part of the National Association of Hispanic Journalists. His girlfriend is a member of the Na-

tional Association of Black Journalists (NABJ).

In both groups, he’s met lots of qualified reporters, but he’s also noticed that “people tend to hire people who look like and think like themselves,” even if they do so unconsciously.

“There’s a reason we talk about unconscious bias—it’s a very real thing.”

Still, publishers have claimed there’s a lack of black candidates “since the beginning of time,” according to Shipp, who says the NABJ was formed in part “to tell publishers that if they truly wanted black reporters, they could help them find them quite easily.”

Shipp believes black journalists are underrepresented for a number of reasons, from longtime journalists retiring and switching careers to publications downsizing or cutting circulation altogether. In regard to the financial crisis in the media industry, both Shipp and Hayt pointed to the old saying “last hired, first fired,” which disproportionately impacts minority reporters who don’t attain the same level of seniority as their white counterparts.

As with many industries, it also boils down to who you know, says Zaragoza, adding that AAN has diversity scholarships to bring young journalists of color to the organization’s conferences so they can “rub shoulders” with the editors and publishers who make hiring decisions.

Shepherd, who says she had a connection when she applied to Washingtonian, agrees.

“Journalism is such a mentor-heavy industry, you’ve got to get a mentor—I’ve had six.” And as a minority reporter, it’s hard to put yourself out there, she says. “You have more to lose. If someone’s like, ‘Oh that Brittany was overeager, you shouldn’t hire her,’ what happens then? I’m fucked.”

As a young reporter in D.C., “the competition is insane,” according to Williams, who studied communications at Villanova University. He had an internship at The Atlantic and was part of a program that sent him to Rome to cover the Vatican. He then attended Syracuse University as a graduate fellow in a program for students of color.

“In the back of my mind, I knew that I would have to do all those things to be considered— things that maybe my white counterparts don’t have to do,” he says. “I don’t know if they get an easy way in, because I don’t think it’s easy for anybody, but I don’t think they have to jump as many hurdles. I think that’s known by white reporters—I talk to them about it. I think everyone knows in any field being black, you have to do twice as much.”

There’s a root cause for this.

“People hate it when you bring up slavery, institutionalized racism, and Jim Crow, but to act like that stuff didn’t have generational impact is absurd—the ramifications for enslaving people for 200 years are endless,” says Randall, adding that if she didn’t get student loans to attend Louisiana State University, she may have never made it to City Paper.

“I was a poor black person in New Orleans and a lot of poor black people aren’t getting the same opportunities—just by the sheer fact of being poor and black,” she says. “And if we

“Other people will never know or understand the black experience—it doesn’t matter how much you tell them, how many stories you write, how many Ta-Nehisi Coates books you give them...

That’s why we need to be in these spaces, otherwise you’re erasing us, you’re erasing our culture—whether you mean to or not.”

Kayla Randall

do go to college, it’s like ‘Oh God, what do I do?’ People of all backgrounds who I went to high school with started dropping like flies after two years or three years in college—some never made it to a full semester.”

“So there’s this whole system in place since slavery that has sought to disenfranchise us, not educate us, and keep us out of the power structures,” she continues. “So when we break through the mold, it’s like a huge accomplishment.”

So what iS local print media doing to change the system, and what else could it do?

At Greater Greater Washington, where I am currently a fellow, founder David Alpert says his staff has “worked really hard in recent years to advertise positions in places that we think would be seen by more people of color and other underrepresented groups. And we really make an effort to give thought when screening resumes to have a group of finalists with different backgrounds.”

To combat financial challenges, Washingtonian’s fellowship program is paid, says Schaffer, who worked at City Paper as a senior writer and editor from 1997 to 2000 and joined the alt-weekly again as editor from 2010 to 2012. “[Washingtonian’s stipend] isn’t a great salary, but when I came back to City Paper as editor, the interns were unpaid and I thought it was pretty horrible because when you work with no pay, it’s obviously going to be self-selecting for people who are more affluent and from less diverse backgrounds,” he says. “So when you have a program where you pay people, you’re going to wind up with more of a diverse population to pick from.”

Nena Perry-Brown is the only full-time black reporter on local real estate blog Urban Turf ’s three-person editorial team. She suggests that editors be more proactive in courting writers with non-traditional backgrounds.

“I definitely appreciate Urban Turf for taking a chance on me despite not having a background in writing,” says Perry-Brown, who earned a bachelor’s degree in sociology, then worked in property management before making the transition to writing.

But at the end of the day, the onus might be on black journalists such as Shipp and Harris who are shaping the next generation as professors. “We’re not just sitting here counting daisies and looking for caskets, we’re fighting, we’re working,” says Harris, who adds that news organizations often contact Morgan State when they’re looking for viable candidates, and his students work hard to make contacts in the field.

For young black staffers, it’s about using what little authority they have to help one another. “I think it’s up to those people in power to include us, but if we are not included, I think we should do our own thing and promote each other,” says Randall, who encourages black writers to contribute to her City Paper section.

“I don’t think there’s any other community on this planet that is like us. We lift each other up. We care because we have a collective pain.”

CP

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DCFEED

D.C. hired its director of office and nightlife and culture. Despite the hospitality industry’s pleas for an insider, Mayor Muriel Bowser picked Shawn Townsend from the Alcoholic Beverage Regulation Administration.

Growing Up Fast

Darrow Montgomery

Where does D.C.’s fast casual industry stand a decade into the boom that changed the way we eat?

By Laura Hayes The D.C. fasT casual sector has reached its angsty teenager phase. No longer the new kid and not quite a mature industry, these restaurants that now seem as ubiquitous as fast-food burger joints, aim to provide customizable, high quality meals for $10 to $15.

Four local fast casual pioneers are growing with fervor. The first sweetgreen opened in 2007, and now has close to 90 locations nationwide. District Taco debuted as a food truck in 2009 and now has 12 restaurants in D.C., Maryland, Virginia, and Pennsylvania. After opening in 2011, CAVA now has more than 70 loca-

YOUNG & HUNGRY

tions in nine states and the District. And, after launching in 2012, there are now 32 &pizza shops up and down the East Coast.

These independent fast casual titans, along with popular competitors like Chipotle and Shake Shack, prove there’s a hungry market for quick, convenient dining that’s wedged between fast food and sit-down service.

Technomic managing principal Joe Pawlak predicted in April that fast casuals would continue to lead restaurant industry growth in 2018. Where casual and fine-dining restaurants were expected to grow by 2.7 percent this year, fast casuals were predicted to have a higher growth rate of 7.5 percent. These numbers suggest that opening a fast casual restaurant is the safest bet in an industry where so many businesses fail.

But a decade into D.C.’s fast casual boom, the city is starting to see a shake up due to increased competition, labor challenges, and rising rents. In the past 14 months, hoagie slinger Taylor Gourmet closed all of its stores; sushi burrito company Buredo consolidated from five restaurants to two; Philly import honeygrow shuttered its D.C. proper location; TaKorean closed on U Street NW; and futuristic fast casual restaurant eatsa, which had outlets on K Street NW and Pennsylvania Avenue NW, shut down its D.C. and New York restaurants.

As the District’s fast casual spots experience growing pains, City Paper checked in with six operators to understand what adjustments they’ve made since their first sale and how they see the future of their industry.

CaVa, oVerall, haD a positive 2018. (Well, except for the woman at the Tenleytown location who found a leaping frog in her salad in mid-November.) On Nov. 21, the Greek-inspired restaurant where you can load up bowls, salads, or pitas with Mediterranean flavors officially acquired Zoës Kitchen in a $300 million deal, creating a fast casual company with 8,000 employees.

CEO Brett Schulman attributes CAVA’s success to having clear priorities and a point of view. He sees the fast casual sector splitting into companies that focus on convenience and companies that focus on the customer experience.

“They’re not mutually exclusive, but you have to be really strong at one,” he says. “We pride ourselves on being really convenient— making sure you can meet the guest on their terms.” That means having a digital ordering app for on-the-go customers; offering delivery where it makes sense; and a foray into building drive-thru locations in suburban markets.

While the menu is consistent, CAVA designs each restaurant to suit its surrounding community. The CAVA in Manhattan’s Bryant Park, for example, has no seats. It’s not worth paying Big Apple square footage when most diners are looking for a desk lunch. “The monolithic chain of 15 years ago that’s very cookie cutter isn’t going to work in the future,” Schulman predicts. “You have to adapt spaces for different neighborhoods.”

Schulman thinks of CAVA as an “HR company serving food,” and notes they offer employees health insurance, paid vacation, and staff meals. This month, CAVA gave all of its employees two paid hours off to vote, and other businesses followed suit. It’s earned a fivestar rating on the job review site Glassdoor.

Attracting, retaining, and affording staff continues to be one of the biggest challenges for fast casuals according to the “2018 Fast Casual State of Industry” report from FastCasual.com. The publication based its findings on surveys of 250 fast casual operators. Fiftyfour percent reported concerns about minimum wage increases.

Some companies will inevitably look to technology to help trim labor costs. “I’m a firm believer that technology is going to enhance the human experience, not replace it,” Schulman says. “I don’t believe in a bunch of robots and no people.”

Where CAVA has a chief data strategist that informs the company’s operations and expansion plans, Taco Bamba owner Victor Albisu relies on his gut intuition. “The way we’ve grown, it’s always been a shot in the dark,” he says. Yet Albisu came to the same conclusion as Schulman.

washingtoncitypaper.com november 30, 2018 15

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

“We treat every single store as its own,” Albisu continues. “We don’t just open a store and put our logo on there and make tacos.” Even the chorizo recipe varies from one location to the next. There are three Taco Bambas operating in northern Virginia, with a fourth on the way, and one in downtown D.C. “We aren’t worried about consistency, just high quality.”

Menus vary from location to location, but the tacos uniformly push boundaries. Springfield offers a “Foo Fighter” taco with crispy fish, tamarind chile sauce, green papaya slaw, and ancho chili peanuts, while D.C. serves a taco in collaboration with Chef Erik Bruner-Yang with beef tendon, chorizo larb, serrano, mint, and basil. “We don’t dumb it down, we don’t make it easy,” Albisu says. “Our customer base is split between total cult following and people who don’t get it and run out as fast as possible.”

Two other local fast casual restaurants took risks with the cuisines they serve, reflecting a new direction for the sector. RASA in Navy Yard serves build-a-bowl, made-from-scratch Indian food, while Chaia in Georgetown is a vegetarian taco shop.

“When we started there was this big open question,” says Sahil Rahman, who co-founded RASA with Rahul Vinod. “Is mainstream America ready to eat Indian food on a regular basis?” About a year in, the youthful business partners are pleasantly surprised. “We’re seeing Indians, millennials, Latinos, African-Americans... even the baseball crowd that’s used to hot dogs and hamburgers has been receptive.”

He believes Americans are craving international cuisines, especially in large metropolitan areas. “Fast casual is the fastest growing segment of the market, so it only makes sense that people are going to have to adapt to this model.” The former owners of sit-down Burmese restaurant Mandalay are bringing the District a fast-casual restaurant called Bandoola Bowl in 2019, for example.

While RASA only has one location, it relies on delivery services to get its food in front of more customers. “A lot of people in the Shaw and Chinatown areas order RASA where I don’t know if they’d come into the store,” Rahman says. “There’s so much data being collected. If you think about growing, you know people are craving RASA in this area.”

Delivery is so popular that RASA just launched catering on Caviar. Rahman says if he got a mulligan, he would go back and create a separate delivery line of cooks that prepare meals for delivery customers without impacting in-store operations.

Rahman says they’re working on standardizing recipes and putting systems in place that will allow them to replicate their business. “We want to get our feet set and make sure we’re confident that we’re giving the best possible experience,” he says. “I want to run a great company, not just a big company.”

16 november 30, 2018 washingtoncitypaper.com

Chaia has a similar status as RASA. Cofounder Bettina Stern took a chance on opening a vegetarian taco shop in 2015 after testing the concept and serving signature dishes, like the creamy kale and potato taco, at area farmers markets. Three years later, Stern says they too are standardizing recipes and operating procedures in order to open their next location at 615 I St. NW. “Vegetables are the most luxurious items on the plate,” she says. “They require a lot of work.”

Stern says Chaia relies on its ordering app to provide “integrated data that gives us the competitive edge.” These apps toe the line between collecting an uncomfortable amount of personal information and retrieving just enough data for restaurants to provide a more customized experience. “It helps us ask things like, ‘Would you like your regular order or do you want to try something new?’”

Chaia has expanded slowly compared to others that peppered the area with restaurants fast and furiously. “Some of these places just grew too fast,” Stern says. “We’re looking at locations three and four in the area, then it might be time to go to another region instead of putting seven Chaias in a seven-mile radius.”

TaKorean has chosen this approach, launching its first outpost in Philadelphia inside a renovated food hall around the same time its U Street NW storefront closed. The homegrown Korean taco and rice bowl chainlet started as a food truck and Union Market stall.

“After we opened at The Yards, I thought, OK, we’re doing this thing,” says founder Mike Lenard. “We have to open stores, get money, and be aggressive like everyone else. But after U Street, I don’t want to do another store for a long time. They’re so much riskier with a high probability of failure. In a food hall, if it doesn’t work out, it’s not that bad.”

Not even delivery could save the U Street NW TaKorean. When Caviar takes 30 percent of each sale, it’s “completely unprofitable,” according to Lenard. “If you used to go to the store and now use Caviar and Uber[Eats], you’re destroying restaurants,” he says. “In D.C., there are a lot of people with excess income, but it’s contributing to the general laziness of our culture. Some CEO wrote that, ‘Defying delivery is like defying gravity.’ You can’t not do it.”

Lenard says his stores were “aggressively up” two years ago and TaKorean is continuing to grow overall, but he notes that the local fast casual sector has changed since he first entered the market in 2012.

“There were only four fast casuals in the market and now there’s maybe 12 or 13,” he says. “People have so much money in their pockets from institutional investors—they’re signing leases everywhere, blanketing the market and making it difficult to capture people’s attention.”

Philadelphia-based fast casual restaurant

PODCAST

honeygrow went through an aggressive expansion phase. Justin Rosenberg, the CEO of the salad and stir-fry company that’s been operating since 2012, told Eater in August 2017 that he envisioned adding eight more honeygrow locations in the region by 2019. Only Pentagon City and Chinatown were open at the time.

Honeygrow was able expand into Rockville, Tysons Corner, and Reston, but the D.C. location at 7th and H streets NW closed this month.

Rosenberg cited the high rent. “We have work to do,” Rosenberg says. “We learned the hard way through closing a few locations, especially what rents we should be taking.”

Rosenberg says he’ll consider opening new honeygrows in 2020 and 2021, once they hone their cooking processes, staff training, and staff retention practices, suggesting rent wasn’t the only problem.

“Today is harder than ever,” Rosenberg says.

“There are so many options for people to work, we’re constantly thinking of ways to make people stay with us.” He suggests employees should be loyal to honeygrow because they’re learning techniques that could help advance their careers.

“You learn how to cook, this is not a poopand-scoop concept,” he says. “Cooks can say they’ve made thousands of stir-fries on smoking woks. We use the same noodles as David Chang. They’re dropping noodles, shocking the noodles in an ice bath. That matters.”

Asked About the future of the fast casual sector locally, Taco Bamba’s Albisu worries about oversaturation while also acknowledging that healthy competition means better quality for consumers.

“Our industry and many industries, we have a tendency of breaking things,” he says. “All of the sudden everyone wants to do something.

It’s cool because it pushes the level up and you have to try to be the best in your genre. I hope that there’s a lot of good competition and the sheer amount of offerings doesn’t bring down the whole ship.”

The danger of an oversaturated market, he believes, is that quality will start to suffer and public perception of fast casuals will take a dive.

“This is a food style that I don’t ever think is going to change,” Albisu continues. “It’s here to stay. I just think we all need to be doing our best work to continue being successful.”

But being the best salad tosser, sandwich builder, or pizza thrower might not be enough.

The fast casuals that stretch expectations and incorporate new and bold flavors from around the world appear to be best positioned for success and longevity, especially in a market where dining has never been so exciting.

“I think those that are doing it right will still be in the game,” says Chaia’s Stern. “Those that have the right ethos going forward will hopefully make it. We’re totally unconventional. People like unconventional.”

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Experience holiday shopping in the heart of Downtown F Street between 7th & 9th streets NW

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washingtoncitypaper.com november 30, 2018 17

GET TICKETS TO DC’S FAVORITE HOLIDAY TRADITION NOW!

Welcome to the 14th Annual DowntownDC Holiday Market Jewelers, crafters, candy makers and other artisans from around the world and the District spend the year making one-of-a-kind items for The DowntownDC Holiday Market. Now they are again celebrating “so much more” at the 14th Annual DowntownDC Holiday Market.

So Much More at the DowntownDC Holiday Market means: • • •

•

NOVEMBER 29–DECEMBER 28, 2018 WARNER THEATRE

SIGNATURE EVENTS Family Day SUNDAY, DECEMBER 2

Military Appreciation Night WEDNESDAY, DECEMBER 5

Breakfast with the Sugar Plum Fairy (NEW!) SUNDAY, DECEMBER 9, 10AM

The Nutcracker Tea Party SUNDAY, DECEMBER 9, 3PM

The largest number of curated, homemade items (over 180) than ever before.

Your chance to experience one of the nation’s best holiday markets, according to USA Today.

A celebration of #GivingTuesday on Tuesday, Nov. 27, beginning at noon with community leaders, nonprofits and the Catalogue for Philanthropy: Greater Washington, as they mark the annual day for online giving.

Live music, food and holiday festivities while you shop!

New this year, support District creatives with locally-made products at the new Made in DC booth or learn more about your favorite DowntownDC museums in the info area throughout the duration of the market.

Fourteen years ago, the DowntownDC Business Improvement District (BID) and Diverse Market Management (DMM) created an outdoor holiday shopping marketplace for the DowntownDC community. Today, DowntownDC is a retail and tourist destination and this market is at the heart of it all.

The Market is committed to environmental sustainability and environmentallyfriendly initiatives are also important to many of the Market exhibitors, some whom offer fair-trade imports and gifts made from recycled and sustainable resources. The Market is conveniently accessible by public transportation including Metrorail, Metrobus and Capital Bikeshare.

The Market opens Black Friday (Nov. 23) and runs through Dec. 23 and is open daily from 12pm - 8pm on F Street NW between 7th and 9th streets.

The BID and DMM thank our sponsors for their contributions. For a full list of sponsors and for more information on daily performances and vendors, visit DowntownDCHolidayMarket.com. Follow us on Twitter @ DtwnHolidayMkt, (#DowntownDCHolidayMarket), on Facebook and on Instagram. Vendors rotate daily, so we look forward to seeing you throughout this holiday season again and again in DowntownDC!

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Funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

Esmiana Jani by Dean Alexander

18 november 30, 2018 washingtoncitypaper.com

Neil Albert President & CEO DowntownDC Business Improvement District

Downtown Holiday Market Guide

Mike Berman Executive Director Diverse Markets Management

EXHIBITORS ANTIQUES AND COLLECTIBLES

Far East Antiques #43, Nov 26 (M)-Dec 2 (Su) iconsDC #25, Dec 6 (Th)-Dec 13 (Th) www.iconsDC.com Jentz Prints #7, Nov 23 (F)-Dec 23 (Su) Tom Rall #13/14, Nov 23 (F)-Dec 5 (W)

CERAMICS

Kerri Henry Pottery #16, Nov 23 (F)-Dec 6 (Th) kerrihenrypottery.com/ Kuzeh Pottery #5, Nov 23 (F)-Dec 6 (Th) www.kuzeh.us Printemps Pottery #18, Dec 6 (Th)-Dec 17 (M) printempspottery.com

CLOTHES & ACCESSORIES

Aria Handmade #32, Nov 23 (F)-Dec 23 (Su) ariahandmade.com Art Inca Native #9, Nov 23 (F)-Dec 23 (Su) Bailiwick Clothing Company #19, Dec 13 (Th)-Dec 16 (Su) bailiwickclothing.com Black Bear Leather #21, Dec 7 (F)-Dec 13 (Th) blackbearleather.com CAMBO3 #25, Nov 26 (M)Nov 29 (Th) etsy.com/shop/cambo3 Celena Gill Design #19, Dec 20 (Th)-Dec 23 (Su) celenagilldesign.com Cho-pi-cha #59, Nov 23 (F)-Nov 29 (Th) De*Nada Design #30, Dec 7 (F)-Dec 23 (Su) www.denadadesign.com Fuzzy Ink #8, Nov 23 (F)-Dec 23 (Su) fuzzy-ink.com Handmade Especially For You #18, Dec 18 (T)-Dec 23 (Su) www.clydelleco.com Hero Heads - Inspire Us Designs #19, Dec 6 (Th)-Dec 9 (Su) heroheads.com Inka Treasure Shop #2, Nov 23 (F)-Dec 23 (Su) inkatreasureshop.com

Jonathon Wye, LLC #34, Nov 23 (F)-Dec 23 (Su) jonwye.com Kiwi Exquisite #60, Dec 20 (Th)-Dec 23 (Su) Kora Designs #43, Nov 26 (M)-Dec 6 (Th) Lil’ Fishy #38, Nov 23 (F)-Dec 23 (Su) lilfishy.com LittleTibetBoutique #12, Nov 23 (F)-Dec 23 (Su) Mirasa Design #52, Nov 28 (W)-Dec 16 (Su) mirasadesign.com Mistura Timepieces #10, Nov 23 (F)-Dec 23 (Su) mistura.com Padhma Creation #51, Dec 7 (F)-Dec 12 (W) padhmaknits.com Pook #60, Nov 26 (M)-Dec 6 (Th) www.pook.ca/ Slant Apparel #19, Nov 23 (F)-Nov 25 (Su) slantevolution.com Stitch & Rivet #59, Dec 17 (M)-Dec 19 (W) shopstitchandrivet.com The Buffalo Wool Co. #39, Nov 23 (F)-Dec 17 (M) thebuffalowoolco.com Winthrop Clothing Co. #17, Nov 30 (F)-Dec 6 (Th) etsy.com/shop/ Yikes Twins #52, Nov 23 (F)-Nov 27 (T) #24, Dec 21 (F)-Dec 23 (Su) www.yikestwins.com

CORPORATE/ GOVERNMENT DC Lottery #15, Dec 6 (Th)-Dec 12 (W) dclottery.com Made In DC #19, Nov 23 (F)-Dec 23 (Su) thisismadeindc.com

CRAFT Canimals #46, Nov 23 (F)-Nov 29 (Th) getcanimals.com Fancy HuLi #17, Nov 30 (F)-Dec 6 (Th) fancyhuli.com Had Matter #60, Nov 23 (F)-Nov 25 (Su) #13, Dec 6 (Th)-Dec 9 (Su) hadmatterart.com Hope’s Journals #59, Dec 3 (M)-Dec 16 (Su)

Infinity Lights #31, Nov 26 (M)-Dec 6 (Th) mazelights.com J’s Paper Fantasies #29, Dec 4 (T)-Dec 6 (Th) Rebound Designs #54, Dec 7 (F)-Dec 23 (Su) rebound-designs.com Relojearte #33, Nov 23 (F)-Dec 6 (Th) Sassafras Designs #25, Nov 23 (F)-Nov 25 (Su) Holston Mountain

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FIBER ART Holston Mountain Hat Project #22, Nov 23 (F)-Nov 28 (W) holstonhats.com Range of Emotion #36, Nov 23 (F)-Dec 23 (Su) rangeofemotion.com Scarvelous #54, Nov 23 (F)-Nov 25 (Su) #16, Dec 14 (F)-Dec 19 (W) facebook.com/Scarvelous Seeing In Fabric #24, Dec 12 (W)-Dec 17 (M) seeinginfabric.etsy.com The Mouse Works #20, Nov 23 (F)-Nov 26 (M) themouseworks.com

FOOD & DRINK Alexa’s Empanadas #1, Nov 23 (F)-Dec 23 (Su) Migue’s Minis #47, Nov 23 (F)-Dec 23 (Su) miguesminis.com The Taste of Germany #62, Nov 23 (F)-Dec 23 (Su) thetasteofgermany.com Vigilante Coffee #48, Nov 23 (F)-Dec 23 (Su) vigilantecoffee.com

GIFT FOODS Cardinal Chocolates Inc. #15, Nov 23 (F)-Dec 5 (W) #15, Dec 13 (Th)-Dec 23 (Su) cardinalchocolates.com Chocotenango #60, Dec 7 (F)-Dec 19 (W) chocotenango.com Chouquette #29, Dec 7 (F)-Dec 13 (Th) chouquette.us J. Chocolatier #29, Dec 14 (F)-Dec 23 (Su) jchocolatier.com Oh-Mazing Granola #19, Dec 10 (M)-Dec 12 (W) ohmazingfood.con

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Downtown Holiday Market Guide

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Whisked! #57, Dec 7 (F)-Dec 9 (Su) whiskeddc.com

GLASS Bow Glass #30, Dec 2 (Su)-Dec 6 (Th) bowglass.com Cecil Art Glass #22, Dec 17 (M)-Dec 23 (Su)

englerglass #43, Dec 7 (F)-Dec 23 (Su) englerglass.com GlitzyGlass #40, Nov 23 (F)-Dec 23 (Su) www.glitzy-glass.com Homegrown Glass Art #20, Dec 4 (T)-Dec 23 (Su) ryaneicher.etsy.com

washingtoncitypaper.com november 30, 2018 19

EXHIBITORS (cont.)

Joy of Glass #25, Nov 30 (F)-Dec 5 (W) joyofglass.com New World Glass #30, Nov 27 (T)-Dec 1 (S) www.newworldglass.com

Dorjebajra Tibet Shop #51, Nov 23 (F)-Dec 6 (Th) www.mytibetshop.com

IMPORTED CRAFTS

Harun’s African Art #51, Dec 13 (Th)-Dec 23 (Su)

Baby Alpaca #45, Nov 23 (F)-Dec 23 (Su) Colombia Handmade #23, Dec 7 (F)-Dec 13 (Th) etsy.com/shop Colombia Hand Made Organic Art #23, Dec 7 (F)-Dec 13 (Th) www.etsy.com/shop/ ColombiaHandMadeArt

GingerBandar #22, Dec 3 (M)-Dec 6 (Th) www.gingerbandar.com

Marigold Way #46, Nov 30 (F-Dec 13 (Th) marigoldway.com Mundo Handmade #24, Nov 23 (F)-Dec 11 (T) www.mundovillage.com Souvenir Arts #61, Dec 14 (F)-Dec 23 (Su) russian-classics.com

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Toro Mata #6, Nov 23 (F)-Dec 23 (Su) www.toromata.com Tunisian Touch #63, Nov 23 (F)-Dec 23 (Su) tunisiantouch.com Valley of Gems #26, Dec 10 (M)-Dec 13 (Th) Vida Dulce Imports #14, Dec 6 (Th)-Dec 18 (T) vidadulceimports.com Waters Woods #26, Dec 21 (F)-Dec 23 (Su) waterswoods.com

JEWELRY Amanda Hagerman Jewelry #22, Dec 7 (F)-Dec 11 (T) amandahagerman.com American Princess #56, Dec 7 (F)-Dec 16 (Su) Amy Abrams Designs #17, Nov 23(F) – Nov 29 (Th) Amyabramsdesigns.co Andrea Haffner #28, Dec 20 (Th)-Dec 23 (Su) ARTICLE22 #54, Nov 26 (M)-Dec 6 (Th) www.article22.com August Nine Designs #39, Dec 18 (T)-Dec 23 (Su) augustninedesigns.com Be You Fashion #61, Nov 23 (F)-Dec 6 (Th) beyoufashion.com Black Black Moon #5, Dec 14 (F)-Dec 23 (Su) blackblackmoon. carbonmade.com Chelsea E. Bird Designs #17, Dec 21 (F)-Dec 23 (Su) chelseaebird.com Courtney Gillen #56, Dec 17 (M)-Dec 23 (Su) D Collections #3, Nov 23 (F)-Dec 23 (Su) David Conroy Art #27, Nov 23 (F)-Dec 9 (Su) davidconroyart.com/ Deco Etc. #58, Nov 23 (F)-Dec 23 (Su) www.decoetcjewelry.com Drabo Gallery #19, Dec 3 (M)-Dec 5 (W) www.DraboGallery.com Leah Staley Designs #59, Dec 20 (Th)-Dec 23 (Su) www.leahstaley.com Leah Sturgis Jewelry Art #44, Dec 7 (F)-Dec 23 (Su) www.leahsturgis.com Mann Made Designs #35, Nov 23 (F)-Dec 23 (Su) mannmadedesigns.com Maruxi Jewelry #56, Nov 23 (F)-Dec 6 (Th) www.maruxivintage.com

Moya Gallery #23, Dec 14 (F)-Dec 23 (Su) moya-gallery.com

Tsolmon-Art #4, Nov 23 (F)-Dec 23 (Su) www.tsolmonart.com

nonasuch vintage & craft #17, Nov 23 (F)-Nov 29 (Th) instagram.com/nonasuch/

Turbopolis #26, Dec 14 (F)-Dec 20 (Th) www.turbopolis.com

Southwest Expressions #25, Dec 14 (F)-Dec 23 (Su) nativecraftsworld.com Stio Design #29, Nov 23 (F)-Dec 3 (M) #27, Dec 14 (F)-Dec 23 (Su) ancientcoindesigns.com Taber Studios #52, Dec 17 (M)-Dec 23 (Su) taberstudios.com Terry Pool Design #17, Dec 7 (F)-Dec 20 (Th) www.terrypooldesign.com Tigerlillyshop Jewelry #27, Dec 10 (M)-Dec 13 (Th) Tigerlillyshop.com Turtles Webb #13, Dec 10 (M)-Dec 23 (Su) turtleswebb.com

Washington Watercolors #26, Nov 23 (F)-Dec 9 (Su) marybelcher.com

PAINTING Golshah Agdasi #28, Nov 23 (F)-Dec 19 (W) HOMETOWN GO #20, Nov 27 (T)-Dec 3 (M) hometowngo.com Jonathan Blum #33, Dec 7 (F)-Dec 23 (Su) Jonathanblumportraits.com Joseph Snyder #46, Dec 14 (F)-Dec 23 (Su) josephharrisonsnyder.com Kessler Art #44, Nov 23 (F)-Nov 25 (Su) #14, Dec 19 (W)-Dec 23 (Su) kesslerart.com Marcella Kriebel Art & Illustration #5, Nov 23 (F)-Dec 6 (Th) marcellakriebel.com QuestSkinner #57, Nov 23 (F)-Dec 6 (Th) www.questskinner.com Rayhart #22, Dec 12 (W)-Dec 16 (Su) worksofrayhart.com Thomas Bucci #53, Nov 23 (F)-Dec 23 (Su) www.thomasbucci.com

PHOTOGRAPHY Avner Ofer Photography #41, Nov 23 (F)-Dec 23 (Su) avnerofer.com Chandler Art and Images #16, Dec 20 (Th)-Dec 23 (Su) Images By Lucas Bojarowski #19, Nov 26 (M)-Nov 28 (W) Italy In Color #59, Nov 30 (F)-Dec 2 (Su) #31, Dec 7 (F)-Dec 11 (T) www.italyincolor.com Joe Shymanski #50, Nov 23 (F)-Dec 23 (Su) joeshymanski.com MacroFine Photography #5, Dec 7 (F)-Dec 13 (Th) MacroFinePhotography. com Tom Wachs Photography #23, Nov 23 (F)-Dec 6 (Th) tomwachs.com

PRINTMAKING Black Lab #18, Nov 23 (F)-Dec 5 (W) FemalePowerProject.com Cherry Blossom Creative #55, Nov 30 (F)-Dec 16 (Su) cherryblossomcreative.com EWBA #11, Nov 23 (F)-Dec 23 (Su) www.ewba.net Fancy Seeing You Here #22, Nov 29 (Th)-Dec 2 (Su) fancyseeingyouhere.com Grey Moggie Press #22, Nov 29 (Th)-Dec 2 (Su) greymoggie.com Katharine Watson #42, Nov 23 (F)-Dec 23 (Su) katharinewatson.com

View a daily schedule at DowntownHolidayMarket.com.

Find unique and wonderful items offered by over 150 exhibitors. Please note, exhibitors may rotateand/or not be at the Market every day. See the Exhibitor Categories above for the participant list, booth numbers, and days of participation. See the SITE MAP for booth locations.

(M)onday (T)uesday (W)ednesday (Th)ursday (F)riday (S)aturday (Su)nday

Downtown Holiday Market Guide

Typecase Industries #16, Dec 7 (F)-Dec 13 (Th) typecaseindustries.com

SOAP & CANDLES BAMI Products #43, Nov 23 (F)-Nov 25 (Su) #21, Dec 14 (F)-Dec 23 (Su) bamiproducts.net Black Oak Grooming Company #19, Dec 20 (Th)-Dec 23 (Su) blackoakgrooming.com Coastal Home & Body #49, Nov 23 (F)-Dec 23 (Su) coastalhomeandbody.com Freres Branchiaux Candle Company #19, Dec 20 (Th)-Dec 23 (Su) freresbranchiaux.com

Geeda’s Hand Poured Candles #24, Dec 18 (T)-Dec 20 (Th) candlesbygeeda.com Handmade Habitat #55, Dec 17 (M)-Dec 23 (Su) HunnyBunny #19, Dec 17 (M)-Dec 19 (W) hunnybunny.boutique Joyful Bath Co. #21, Nov 23 (F)-Dec 9 (Su) joyfulbathco.com Pure Palette #43, Dec 3 (M)-Dec 6 (Th) purepalette.etsy.com

TEXTILES Janice’s Table #30, Nov 23 (F)-Nov 26 (M) www.janicetable.com

Naked Decor #37, Nov 23 (F)-Dec 23 (Su) nakeddecor.com The Neighborgoods #16, Dec 7 (F)-Dec 13 (F) theneighborgoods.com

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WOODWORKING Blue Ridge Cutting Board Company #31, Nov 23 (F)-Nov 25 (Su) #31, Dec 12 (W)-Dec 23 (Su) Facebook.com/ blueridgecuttingboardcompany Simply Lofty Creations #61, Dec 7 (F)-Dec 13 (Th) simplyloftycreatioons.com Tree-to-Art #57, Dec 10 (M)-Dec 23 (Su) www.treetoart.com

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The Downtown Holiday Market is centrally located in the heart of Downtown DC, centered at 8th and F St, NW. It is easily accessible by foot, bike, and Metro (Gallery Pl-Chinatown).

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Smithsonian American Art Museum & National Portrait Gallery

ATM

1

2 3 4 5

15 16 17 18 19

6 7 8 9 10 11 12 13 14

ATM

Stage

Info

20 21 22 23 24 25 26 27 28 29 30 31

32 33 34 35 36 37 38 39 40

48 49 50 51 52 53 54 55 56 57

F St. Downtown Holiday Market Guide

41 42 43 44 45

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7th St.

9th St.

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58 59 60 61 62 63 64

F St. washingtoncitypaper.com november 30, 2018 21

SATURDAY, DEC. 15, 2:00 PM & 7:00 PM

Celebrate the warm spirit of the season with jubilant music in a majestic setting. Music Director Steven Fox makes his conducting debut. Don’t miss this favorite

SUNDAY, DEC. 16, 4:00 PM

DC holiday tradition!

WASHINGTON NATIONAL CATHEDRAL

CATHEDRALCHORALSOCIETY.ORG | 202-537-2228

MUSIC SCHEDULE The Market Stage presents a musical feast of more than 65 shows by some of the area’s best blues, rock, jazz, soul, country, world, and contemporary artists.

And of course, it wouldn’t be a “holiday” market without some of your favorite seasonal standards. Check the daily performance schedule below, and find more information about all of the performers in the Musical Entertainment section of DowntownHolidayMarket.com THURSDAY, NOVEMBER 29

GIVE THE GIFT OF MUSIC ALL YEAR LONG

12:00 PM 5:00 PM

Flo Anito & Seth Kibel Bill Baker Band

Jazzy Holiday, Classics Original Roots Americana

FRIDAY, NOVEMBER 30 12:00 PM 2:30 PM 5:00 PM

Jim Stephanson Jonny Grave Kentucky Avenue

American Songbook Slide Blues Modern Americana

SATURDAY, DECEMBER 1 12:00 PM 2:30 PM 5:00 PM

Split String Soup Alpha Dog Acoustic Blues Stacy Brooks Band

Bluegrass Acoustic Blues Blues, Jazz

SUNDAY, DECEMBER 2 12:00 PM 2:30 PM 5:00 PM

Hokum Jazz 49 Cent Dress Los Caribbeat

Vintage Blues, Jazz Classic Rock Carribean Dance Music

MONDAY, DECEMBER 3 12:00 PM 5:00 PM

Patty Reese Runakuna

Acoustic Roots Andean Traditions

TUESDAY, DECEMBER 4

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12:00 PM 5:00 PM

Seth Kibel Duo The 19th Street Band

Jazz, Klezmer, Holiday Folk Rock, Americana

WEDNESDAY, DECEMBER 5 12:00 PM 5:00 PM

Tritone Jazz Duo Moose Jaw

Jazz Bluegrass, Americana

THURSDAY, DECEMBER 6 12:00 PM 5:00 PM

Jim Stephanson Janine Wilson & Max Evans

American Songbook Roots, Americana

FRIDAY, DECEMBER 7 12:00 PM 2:30 PM 5:00 PM

Flo Anito Jonny Grave Dave Chappell Duo

Downtown Holiday Market Guide

Jazzy Pop Slide Blues Roots of Blues

SATURDAY, DECEMBER 8 12:00 PM 2:30 PM 5:00 PM

Howard U. Jazz Choirs, Afro Blue Fast Eddie & The Slowpokes Surf Jaguars

SUNDAY, DECEMBER 16 Vocal Jazz Choirs Blue-Eyed Soul Surf Rock

SUNDAY, DECEMBER 9 12:00 PM 2:30 PM 5:00 PM

Karen Collins & Backroads Band Blue Panamuse The Lovejoy Group Patty Reese Swangbang Quartet

Acoustic Roots Swing & Twang

TUESDAY, DECEMBER 11 12:00 PM 5:00 PM

Carly Harvey & Dave Gorozdos Judge Smith

Blues, Jazz Roots, Rock

WEDNESDAY, DECEMBER 12 12:00 PM 5:00 PM

Billy Coulter Duo Roquois

Acoustic Rock, Americana Pop, R&B

THURSDAY, DECEMBER 13 12:00 PM 5:00 PM

Smokin’ Lounge Kiti Gartner & Zachary Sweeney

Pop, Rock, Jazz Western Swing, Rockabilly

FRIDAY, DECEMBER 14 12:00 PM 2:30 PM 5:00 PM

Maureen Andary Painted Trillium Afro Nuevo Big Lunch Christylez Bacon King Street Bluegrass

Rock, Blues, Funk Gypsy Jazz Blues, Soul, Motown

12:00 PM 5:00 PM

Emma G Jesse Palidofsky

Acoustic Soul Eclectic Roots

TUESDAY, DECEMBER 18 12:00 PM 5:00 PM

Patty Reese Snakehead Run

Acoustic Roots Jug Band

WEDNESDAY, DECEMBER 19 12:00 PM 5:00 PM

Jim Stephanson Cooking With Gas

American Songbook Blues, Swing, Jazz

THURSDAY, DECEMBER 20 12:00 PM 5:00 PM

Elsa & Tito Bill Baker Band

Latin American Original Roots Americana

FRIDAY, DECEMBER 21 12:00 PM 2:30 PM 5:00 PM

Dave Chappell Duo Maureen Andary Project Natale

Roots of Blues Jazz, Pop Jazz

SATURDAY, DECEMBER 22 Jazz, Pop Celtic, Folk Latin Jazz

SATURDAY, DECEMBER 15 12:00 PM 2:30 PM 5:00 PM

Sol Roots Trio Djangolaya The Gayle Harrod Band

MONDAY, DECEMBER 17 Honky Tonk Blues, Swing Jazz, Holiday

MONDAY, DECEMBER 10 12:00 PM 5:00 PM

12:00 PM 2:30 PM 5:00 PM

12:00 PM 2:30 PM 5:00 PM

Music Pilgrim Trio Miss Tess & The Talkbacks Kiss and Ride

World Music Americana, Blues Blues, Jazz, Soul

SUNDAY, DECEMBER 23 Americana Progressive Hip Hop Bluegrass, Country

12:00 PM 2:30 PM 5:00 PM

Domenic Cicala & Thensome Lilt Ian Walters & Friends

Roots Rock, Americana Irish, Step Dancers Blues, Roots

Hippodrome, 2013.

Photo by Amy Davis.

Used with permission

Explore the architectural and social history of going to the movies. See photos by award-winning Baltimore Sun photojournalist Amy Davis, historic images, theater ephemera, furnishings, and architectural fragments that evoke memories of moviegoing and illuminate themes of loss and preservation.

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washingtoncitypaper.com november 30, 2018 23

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Downtown Holiday Market Guide

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Pearie Sol croons and broods in his new music video for “Love Is For the Loving.” washingtoncitypaper.com/arts

Slate of the Union

Our critics review select films from the 31st European Union Film Showcase.

By Noah Gittell, Tricia Olszewski, and Alan Zilberman

Cold War

Cold War

Directed by Paweł Pawlikowski Poland Paweł Pawlikowski’s Cold War sounds like it must be bloated. It spans over two decades, takes place in multiple countries, and tells a sweeping romance set against the backdrop of frosty relations between Eastern and Western Europe. But to Pawlikowski’s credit, Cold War is an economical film. It is just under 90 minutes long, and no scene lasts any longer than it must.

Those restraints ultimately heighten the film’s genuine power, instead of diminishing it.

The two lovers are Wiktor (Tomasz Kot) and Zula (Joanna Kulig). He is a music director for the Polish government’s new effort to celebrate the country’s folk traditions, and she is a vivacious, stunning singer. They begin their relationship in secret—their trysts only heighten their passion—and a trip to Berlin offers the couple an opportunity to escape communism. Wiktor waits for Zula, who never shows, so he leaves for Paris and begins a career as a jazz musician. Over the ensuing years, the lovers bump into each other in unlikely places, rekindling their romance at great cost.

Like Ida, Pawlikowski’s last film, Cold War uses black-andwhite photography and a 4:3 aspect ratio. The absence of color, coupled with a boxy frame, allows the viewer to study the production design—full of postwar decay—and the emotion in the leads’ faces. Wiktor and Zula protect their feelings, so their quiet gestures contain added resonance. If this material sounds too “artsy,” Pawlikowski maintains a high level of energy with frequent music performances, subtle comedy, and a pitch-perfect bittersweet ending.

Pawlikowski reportedly based his film partially on his parents, but with its use of jazz and star-crossed romance, Cold War might be a rebuke of La La Land. It is a film with genuine stakes and characters, instead of passionless facsimile.

—Alan Zilberman

FILM

Screens Friday, Nov. 30 at 7:30 p.m. at the AFI Silver Theatre and Cultural Center.

In My Room

Directed by Ulrich Köhler Germany, Italy Post-aPocalyPtic movies are nothing new, but as of late, there’s been a micro-trend of stories that depict a mass extinction of humans as welcome news. Darren Aronofsky’s Noah

made this point a few years ago, and this year the indie I Think We’re Alone Now, starring Peter Dinklage as a misanthrope left in bliss on a human-free planet, did the same. Add to the list In My Room, a German production about a young layabout who wakes up to find he is the only person left on Earth, and quickly becomes a better man than he ever was.

The film spares us little of the loneliness that would accompany such a scenario and all the messy human details that would follow. Armin is visiting his infirm grandmother in the suburbs when the human race all but disappears, and he handles the problem the way most of us would: by drinking himself into a vomitous stupor.

Once he sobers up, he sets about building himself a spread in the country, where he can raise a few animals and live peacefully. Still, In My Room is neither idyllic nor dystopian. It takes special note of the suffering of animals, and its vision of post-apocalyptic life may leave you uncomfortable in its brutal honesty.

So I was a little disappointed when, inevitably, Armin discovers a woman who has also been left behind, and they embark on a relationship. It’s fun to watch them fall helplessly in love and then be pulled apart by their indelible human foibles, but the film either spends too much time with them or not enough.

Neither of the characters are well defined enough to be fully invested in their romance, and so many of the questions you want the film to consider—like, why were these two people left behind—go unasked. I liked it better when there was no one else around.

—Noah Gittell Screens Friday, Nov. 30 at 10 p.m. and Monday, Dec. 3 at 9:10 p.m. at the AFI Silver Theatre and Cultural Center.

Transit

Directed by Christian Petzold Germany, France DirecteD by master German filmmaker Christian Pet-

zold, Transit is like Casablanca with a renewed sense of urgency and despair. Its central conceit is disorienting at first, but it ultimately serves as a dire warning for what amounts to a worldwide crisis.

The Nazis have just invaded France, and their sweep of the countryside is coming for the coast. Most of the action takes place in the port city of Marseille, where a handful of Jews wait for a lumbering bureaucracy to clear their transit papers so they can escape elsewhere to Europe, or the United States.

Franz Rogowski plays Georg, who stumbles onto a set of papers through an accidental case of mistaken identity. This deception takes on an ironic, somewhat cruel dimension, since he falls for the wife of the man he pretends to be.

In the first minutes of Transit, you may think you’re watching a science fiction film. It looks like it’s set in present day, and yet the story involves daring escapes and a totalitarian regime.

This is by design: Petzold intentionally uses modern costumes and locations, even though the film is set in the 1940s. A deliberate provocation like this could have backfired, but ultimately Transit’s sense of tragedy and inevitability means something more relevant in a Europe where refugees are marginalized.

By mixing languid dialogue with a gnawing fear of the inevitable, the characters here seem like they are stuck in purgatory.

This approach also creates ample time to develop the characters, who are mostly depressed emigres resigned to their fate.

The complex, twisty love story also grows like a weed, until it ends on a wistful note. Rogowski is no Bogart, and yet Georg has the weariness, romance, and desperation of a lovable noir hero.

—Alan Zilberman Screens Saturday, Dec. 8 at 4:30 p.m. and Monday, Dec. 10 at 7:15 p.m. at the AFI Silver Theatre and Cultural Center.

Knife + Heart

Directed by Yann Gonzalez France, Mexico, Switzerland some films are so transgressive and so defiantly themselves that they must be seen to be believed. The French horror film Knife + Heart is one of those of films.

Director Yann Gonzalez takes the Italian giallo tradition of stylized gore, and fuses it with the milieu of gay pornography in the 1970s. His hero is Anne (Vanessa Paradis), a lesbian porn director who works almost exclusively with men. Like Burt Reynolds in Boogie Nights, she oversees a semi-functional family of eccentrics and weirdos. Production grinds to a halt, however, when a mysterious killer starts murdering young actors. The police are no use, so she tries to solve the case while incorporating the murders into the plot of her latest film.

The grisly murders are shown in stylized detail. The killer wears a grotesque black mask, and his preferred weapon is a washingtoncitypaper.com november 30, 2018 25

CPARTS giant black dildo with a knife inside it (he murders his first victim shortly after mounting him). Conservative audiences may balk at such material, but Gonzalez’s gleeful affection in handling the material elevates it above mere pornography. Whether it’s the period costumes or grainy film stock, the film’s retro feel is a sensual delight. The characters are also fleshed out, with Paradis giving an enigmatic performance.

The details of the mystery are incidental to Knife + Heart. What matters more is the vibe and liberation of watching it. Of course, AIDS is a crucial subtext in a film that deals with the deaths of young gay men. If this murderer is a walking metaphor, then the exasperation, denial, and eventual triumph of his victims represent the painstaking reclamation of lost innocence. Come for the ejaculation jokes, stay for the social justice. —Alan Zilberman Screens Saturday, Dec. 8 at 10:20 p.m. and Thursday, Dec. 13 at 10 p.m. at the AFI Silver Theatre and Cultural Center.

down the killers, tracking them through frigid temperatures and dangerous terrain in order to seek his revenge and recover a valuable totem. It’s a timeless story set before time existed.

Directed by Felix Randau, Iceman doesn’t say anything that America’s bleakest westerns haven’t said before, but it remains thrilling as a work of pure cinema. Without intelligible dialogue, it is essentially a silent film, and the actors, especially Jürgen Vogel in the lead role, hold your attention through broad but believable choices. It’s especially impressive when you consider that their faces are mostly hidden behind bushy beards and long, stringy hair.

It might sound like a drag, but Iceman even finds moments of human comedy—or absurdity, at least—in its bleakness. Right before a key confrontation, as two characters are hurtling toward each other with spears drawn, the ice suddenly gives way and one disappears from view, likely dooming him to death.

Finding humor in a world this barren of humanity? That’s a sure sign of evolved thinking.

—Noah Gittell

Iceman

Screens Sunday, Dec. 9 at 12 p.m. and Wednesday, Dec. 12 at 7:05 p.m. at the AFI Silver Theatre and Cultural Center.

Set in 5300 B.C. and featuring dialogue in the dead language of Rhaetia, Iceman is an easier watch than you might think. It’s the story of Kelab, a Neolithic man who returns home from a hunt to find his family murdered by roving marauders. He sets out with the only other survivor—his newborn infant—to hunt

Euthanizer

Directed by Felix Randau Germany, Italy, Austria

Directed by Teemu Nikki Finland the euthanizer in Finland’s Euthanizer will likely inspire the admiration of animal lovers. Veijo (Matti Onnismaa), a me-

chanic, puts down pets as a side gig, and he asks for each animal’s story to suss out whether its owner really took care of it up until this point. Chances are they haven’t, at least not to Veijo’s satisfaction, so he lays on guilt trips that writer-director Teemu Nikki has elegantly penned.

At the same time, however, the film can be hard to watch.

Veijo either gasses or shoots the animals, and the lead-ups to their offscreen deaths are absolutely heartbreaking. There’s a reprieve when the mechanic chooses to adopt a healthy dog that a white supremacist paid to have put to sleep; a game of violent vengeance then plays out that highlights the anger that both men harbor, Veijo toward his ailing father as well as himself and the neo-Nazi toward the world in general—his apparent personal uncertainty and subsequent hatred make him flail every time something doesn’t go right, which has included the dog’s less-than-perfect behavior in his company.

Veijo is a truly original anti-hero who’s sometimes darkly funny. He doesn’t suffer fools and incisively speaks for animals that can’t speak for themselves. He wants the bad guys to suffer and the good guys—or pets—put out of their misery in as compassionate a way as possible. Unless you take a hard line against revenge—as in typical thrillers, things do escalate quickly—this Euthanizer is easy to get behind.

—Tricia Olszewski Screens Sunday, Dec. 9 at 9:40 p.m. and Monday, Dec. 10 at 9:30 p.m. at the AFI Silver Theatre and Cultural Center.

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THEATERCURTAIN CALLS

By

David Ives

Inspired by the work of Carl Sternheim Directed by

Michael Kahn

THE FUN BEGINS DEC 4

LONDON CALLING An Inspector Calls

By J.B. Priestley Directed by Stephen Daldry At Sidney Harman Hall to Dec. 23 An Inspector cAlls may possibly be the most entertaining play to grace the DC scene this fall. The National Theatre’s production of J.B. Priestley’s social realist play, running at Shakespeare Theatre Company’s Sidney Harman Hall, is, perhaps surprisingly, suited to our times, and its interrogation of class structures and illustration of self-deception amongst the well-to-do is resonant in our age of income inequality.

The action takes place in Edwardian England, opening with a dinner party to celebrate the engagement of Sheila Birling (Lianne Harvey) and Gerald Croft (Andrew Macklin) and the consequent business alliance of the Birling and Croft industrial concerns. Sheila’s father, Mr. Birling (Jeff Harmer), is in a tizzy, hoping it will lead to “lower costs and higher prices.” Sheila’s brother, the tittering Eric Birling (Hamish Riddle) and mother, Mrs. Birling (Christine Kavanagh) complement the dinner party chit-chat. Underlying the merriment is Mr. Birling’s expectation of making the honors list and his wish to avoid any kind of scandal that might torpedo his recognition.

Then Inspector Goole (Liam Brennan) strides into the merriment and launches his righteous inquiry. A girl, Eva Smith, is dead, committing suicide by disinfectant. Eighteen months earlier, she had protested the lower costs at Mr. Birling’s factory, leading a strike and asking for a raise from 22 shillings to 25. The strike is broken and the ringleaders are fired to make an example, setting in motion a chain of events that leads to suicide. Who is to blame?

Mr. Birling takes no responsibility, arguing that since the sacking happened almost

ORDER TODAY! two years earlier he has “nothing to do with the wretched girl’s suicide.” The inspector demurs, arguing that it launched a chain of events that led to the final tragedy. His inquest launches with an interrogation of the indignant Mr. Birling who exclaims “If we were all responsible for everything that happened to everybody it would all be very awkward, wouldn’t it?”

Taking his cue, the inspector moves forward with his inquest, one person at a time, eliciting information about their interactions with the dead girl. “You talk as if we were responsible,” Sheila says. Her father stands by his actions, arguing that “if you don’t come down sharply on some of these people, they’d soon be asking for the earth.”

“It’s better to ask for the earth than to take it,” Goole responds. As the inquest proceeds and the complex class dynamics unfold which, in one way or the other, link the girl’s demise to each member of the dinner party, Mr. Birling’s fear of a scandal increases—he might not get his honor after all.

While it is difficult to single out any member of this stellar cast—all the actors are simply excellent—Brennan is wonderful as the inspector. He controls the stage using his frame, setting the pace of the play like a drummer in a well run band, extracting answers from each character in a forceful manner, like a bulldog hunting for a bone. As Mr. Birling, Harmer demonstrates a lack of remorse, concern for the self, and self-justification that often characterize successful businesspeople. Kavanagh is as assured and imperious as Mrs. Birling as Harvey, playing her daughter, is racked with guilt and burdened with a conscience.

Stephen Daldry first directed An Inspector Calls in 1992, collaborating with scenic designer Ian MacNeil to create the unique doll’s house that opens up on a misty set. Both director and set designer are working together again on this a quarter century later, and both are in fine form. This is a production that screams, “go to the theater!” Heed the call. —Abid Shah 610 F St. NW. $44–$125. (202) 547-1122. shakespearetheatre.org.

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Sponsored by the Robert and Arlene Kogod Family Foundation.

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11/13/18 1:42 PM

wondered how a man born into slavery, who never fully learned how to read and write, could create such masterpieces of modernism in Montgomery, Alabama.

Between Worlds: The It’s in part because Traylor’s art comes from a Art of Bill Traylor time and place isolated from art hubs that these At the Smithsonian American Art Museworks are so stunning. In his graceful and intuum to March 17 itive rendering of form, Traylor’s animals and It comes as a bit of a surprise that some people hover before us with the same magiAmericans may not be familiar with Bill Tray- cal, totemic presence as the cave drawings at lor. Since the watershed retrospective of his Chauvet. Between Worlds attempts to capture work at the Corcoran Gallery in 1982, artists, that etherealness while expressing the life of curators, and critics have acclaimed Traylor’s an artist who lived during the last half of the works as some of the most important exam- 19th century and the first half of the 20th, who ples of outsider art. So great was his celebri- witnessed the Civil War, Reconstruction, Jim ty, the posthumous outsider is now firmly on Crow, the Great Migration, rural plantations, and the urbanization of the inside and his Southern cities. work—mainly smallBorn in 1853, Trayto -medium-scale lor didn’t start making drawings in pencil, any known artwork uncharcoal, and poster til he was 86, most of paint on cardboard which was produced scraps—has sold during an explosive pefor up to $250,000. riod between 1939 and Traylor left more 1942. The many subthan 1,000 drawseries by which the exings behind when hibition is arranged are he died in 1949— as varied as Traylor’s the largest known life, an attempt to concollection by a perstruct a framework for son born into slavunderstanding an artery—and the Smithist whose biography is sonian American “Truncated Blue Man with Pipe” by Bill replete with gaps and Art Museum’s exhi- Traylor (1939-1942) uncertainties. This efbition of 155 of those works is an ambitious introduction of the art- fort toward categorization feels, at times, labored, but curator Leslie Umberger effectiveist to a mainstream audience.

Of course, putting together Between Worlds: ly interprets Traylor and his work beyond his The Art of Bill Traylor is a deceptively difficult typical summary as an astonishing self-taught task. The qualities that artists and curators are savant. Rather, she directs much of the exhibiintuitively drawn to in Traylor’s work—their ab- tion’s interpretive material and text toward the straction and simplicity—are the same qualities social currency of Traylor’s images, reflecting some viewers seem to resist. These drawings upon them as engaged with the times rather might come off as primitive and untrained to than passive records of events.

An untitled work of an opossum hunt taking some, but others recognize that Traylor’s images exemplify the great achievements of mod- place at the base of a tree also attests to a harsh ernist art. That is, when looking at “Hog, Dog, violence, as so many of his richly encoded but and Chicken Stealing,” a pencil drawing on thin loose narratives do. From the top of the tree, a cardboard, the work’s simple refinement of man can be read as suspended, dangling and contour lines and basic geometry are enlivened reaching up toward the branches. This darkby the artist’s more gestural embellishments— ness of content and the vertical use of visual a curving tail, an elongated limb, attention to narrative evolves in Traylor’s art and attests to the dog’s phallus and the hog’s hooves. Traylor racial divisions.

After 1942, Traylor made less work. In his floats and stacks his disproportionate figures in profile view, some even upside-down, echoing 90s, his deteriorating health led to unprethe same disregard for perspectival and com- dictable living arrangements among varipositional arrangement reflected in early 20th ous family members. He died in 1949, and his grave didn’t have a headstone until earlicentury avant-garde painting.

Just like the modern artists of his day, whom er this year. Traylor captured a particular time he had very little formal knowledge of, Tray- and place when his viewpoint was completelor abandons the academic rigors of drawing ly suppressed. Through the power and perseto render a primal and visceral reflection of his verance of that vision, we are left with a masworld, all while retaining a visual elegance. But terful chronicle of the American story.

—Erin Devine unlike modernist painters who strived toward that imagery, Traylor did so from a completely authentic position. Many collectors and art- 8th and F streets NW. Free. (202) 633-1000. ists of his time marveled at Traylor’s work and americanart.si.edu.

FILMSHORT SUBJECTS

PLAYING FAVOURITES The Favourite

Directed by Yorgos Lanthimos The FavouriTe is nasty, hilarious, obscene, absurd, and exquisite. In other words, it’s a Yorgos Lanthimos film. The Greek director has previously brandished his high-functioning brutality against our future (The Lobster) and our present (The Killing of a Sacred Deer), but he finally turns his cruel and cunning eye to the past in The Favourite, resulting in a unique costume drama that pulls no punches, kicks, slaps, or other acts of affection.

In 18th century Britain, the court of Queen Anne (Olivia Colman) runs smoothly, largely thanks to the wits of her lady-in-waiting Sarah, Duchess of Marlborough (Rachel Weisz), who wields power behind the scenes. While the Queen is too crippled by her emotional insecurity and a severe case of gout to actually rule, Sarah bends the political leaders of the nation to her will. Her shadow regime is imperiled, however, when her cousin Abigail (Emma Stone) arrives seeking employment armed with only her ambition and a tale of woe.

She’s also a kind girl, or at least she can play one. Abigail’s compassion, in contrast to Sarah’s sternness, goes over well with the Queen, and soon the cousins’ affection turns into a bitter rivalry that puts the monarch at risk. Meanwhile, the thousands of British troops fighting a crucial battle in France become pawns in a game of survival between two women.

It’s a cheeky political satire that seems comically exaggerated only in contrast to the dainty view in which most films depict the era. Lanthimos seems determined to shake things up.

The palace is refined and beautiful, but he frequently employs a wide-angle, fish-eye lens to literally distort his setting; it’s a style rarely—if ever—used in period pieces, and it adds an effective comic bent. Similarly, the period cos-

tumes and make-up favor stark contrasts between black and white, as if ripped from some macabre circus. The gap between our g e n r e e xp ectations of casual elegance and t h e fi l m’s punk aesthetic makes for a nearly psychedelic experience.

These formalist touches might weigh The Favourite down if not for the tight script by Deborah Davis and Tony McNamara, which teeters expertly between provocation and emotional authenticity. The skirmish between Susan and Abigail escalates into a war to win the Queen’s affection fought with the soft weapons available to women of the court: sex and lies. Lanthimos depicts both with unfussy realism—one scene features what could only be categorized as the world’s saddest handjob—as his strong-willed women are so fixed on their own survival that they see currency in neither truth nor love.

As the dueling warriors, Weisz and Stone make a formidable and eminently watchable pair. Of the two, Stone had the bigger leap to make. She always seemed more at ease playing modern women, but her performative persona—her characters always seem to be acting— serves her well for Abigail, who is flush with hidden motives. Weisz is more deep in her element, employing a steely reserve that shows Sarah suffering indignities but never losing her nerve, while still revealing enough of an emotional core to drive the action forward.

And yet it is Colman who provides Lanthimos with the pathos missing from his previous works, which elevates The Favourite to brilliance. Her Queen Anne is severely emotionally stunted, pathetic and desperate for validation, but with the ability to turn her selfloathing outward onto whoever stands nearby.

On the one hand, it’s nothing new. Lanthimos’ characters have always doled out their cruelty with bemused detachment, but Colman is more of an open wound. Anne’s privileged life has not allowed her to learn from her mistakes or heal from her traumas. Every time you feel like laughing at her, she reveals some tender truth and engenders your sympathy instead.

It’s a masterfully complex performance that provides this wicked tale a beating heart, not to mention a timely subtext: Imagine the terror of having an overgrown child run your country.

—Noah Gittell

—The London Times

CA M ERO N M AC K I N TO S H PRESENTS

B O U B L I L & S C H Ö N B E R G ’S

December 12–January 13 Opera House Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600

Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

The Favourite opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema. washingtoncitypaper.com november 30, 2018 29

Capital One Arena • Washington, D.C.

MUSE

.......................................................................................................... APRIL 2 Ticketmaster

THIS WEEK’S SHOWS

Merriweather Post Pavilion • Columbia, MD

Sister Sparrow & The Dirty Birds w/ The Rad Trads .......................... Th 29

TRAIN/GOO GOO DOLLS w/ Allen Stone ........................AUGUST 9

ALL GOOD PRESENTS ED! SOLD OUT! SECOND NIGHT ADD

Ticketmaster • merriweathermusic.com • impconcerts.com

FIRST NIGHT

Kurt Vile & The Violators w/ Jessica Pratt ........................................ Sa DEC 1 Polo & Pan...................................................................................................... Tu 4 Kodaline w/ Ocean Park Standoff .................................................................... W 5 DECEMBER

JANUARY (cont.)

ALL GOOD PRESENTS

Marcus King Band w/ Ida Mae ...................................Th 6 Gang of Youths w/ Gretta Ray . M 10 Phosphorescent w/ Liz Cooper & The Stampede..... Tu 11 FIRST TWO NIGHTS SOLD OUT!

THIRD NIGHT ADDED!

Thievery Corporation w/ The Suffers ............................Sa 15 Cat Power ................................Su 16 The Oh Hellos Christmas Extravaganza w/ The Family Crest ...................W 19 Hiss Golden Messenger .....Th 20 ALL GOOD PRESENTS

Big Something & Too Many Zooz w/ Electric Love Machine ..........Sa 22 Margo Price w/ Lilly Hiatt ......Th 27 The Pietasters w/ Big D and the Kids Table • The Forwards • DJ Selah ..............F 28

GWAR w/ Iron Reagan

& Against The Grain ....................Sa 29 NEW YEAR’S EVE AT THE CLUB!

White Ford Bronco: DC’s All 90s Band Champagne Toast at Midnight ..........M 31

Cracker & Camper Van Beethoven ....Sa 19 Super Diamond .....................Th 24 Guster w/ Henry Jamison Two-night passes available ....F 25 & Sa 26

Poppy Early Show! 6pm Doors ......Th 31 Amen Dunes Late Show! 10pm Doors ....................Th 31

Daley & JMSN ............................F 1 Sharon Van Etten w/ Nilüfer Yanya ............................W 6 Mandolin Orange ....................Th 7 COIN Early Show! 6pm Doors .............F 8

ALL GOOD PRESENTS

Ozomatli ...................................Th 3 MØ w/ ABRA ...............................Tu 15 ALL GOOD PRESENTS

The Wood Brothers w/ Priscilla Renea ..........Th 17 & F 18

NEKO CASE Fred Armisen

w/ Margaret Glaspy ................................. JANUARY 27

......................................................... FRI FEBRUARY 8

On Sale Friday, November 30 at 10am

THIS SATURDAY!

Esperanza Spalding ..............DEC 1 LP .................................................... FEB 19 Alice Smith ................................. MAR 9 Jewel - Handmade Holiday Tour w/ Atz, Atz Lee, Nikos Kilcher ............DEC 6 AURORA w/ Talos....................... MAR 10 Story District’s Top Shelf . JAN 19 José González

THIS THURSDAY!

& The String Theory............ MAR 20

AN EVENING WITH

The Disco Biscuits............... JAN 25 Norm Macdonald ................. MAR 21 Must purchase two-night pass (with 1/26 Dido ................................................ JUN 21 Disco Biscuits at The Anthem) to attend.

• thelincolndc.com • U Street (Green/Yellow) stop across the street!

BASS NATION PRESENTS

Space Jesus w/ Minnesota & Huxley Anne Late Show! 10:30pm Doors ..................F 8 ALL GOOD PRESENTS

Spafford ....................................Sa 9 Panda Bear ..............................M 11 Dorothy w/ Spirit Animal .........Tu 12 Bob Mould Band w/ Titus Andronicus ...................Th 14 Galactic feat. Erica Falls (F 15 - w/ High & Mighty Brass Band)

.......................................F 15 & Sa 16

JANUARY

The Knocks w/ Young & Sick • Blu DeTiger ...Su 17 Jacob Banks ...........................Tu 19 Cherub w/ Mosie ........................F 22 You Me At Six .........................Su 24

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

FEBRUARY

Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED! D NIGHT ADDED! FIRST NIGHT SOLD OUT! SECON

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

WHY? Plays Alopecia w/ Lala Lala .......................... Sa DEC 1 Flint Eastwood w/ Nydge & Siena Liggins ..................Su 2 Eyedress .................................Tu 11 Devotchka ................................W 12 The Slackers w/ War On Women ....Su 23 gnash w/ Mallrat & Gaurdin .... Sa JAN 19 Windhand w/ Genocide Pact ..........Th 24 Cautious Clay ...................... F FEB 1

KONGOS w/ Fitness ......................Sa 2 Ripe w/ Brook and the Bluff & Del Florida ......W 6 Cherry Glazerr w/ Mannequin Pussy .......................W 13 UnoTheActivist ........................Sa 16 MadeinTYO w/ Thutmose & Key!...... M 18 Julia Holter .............................Tu 19 Parcels ....................................W 20

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

930.com

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

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

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

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 30 november 30, 2018 washingtoncitypaper.com

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

930.com

CITYLIST

BAND OF HEATHENS NYE

Music 31 Books 35 Dance 35 Theater 35 Film 36

(LOCATED IN MAIN DINING HALL)

Music

MONDAY, DEC. 31

CITY LIGHTS: FRIDAY

$50/ADV $65/DOS

FRIDAY BLUES

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Chris Smither. 8 p.m. $25–$30. wolftrap.org.

ELECTRONIC

★

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

RAC. 10 p.m. $25–$30. ustreetmusichall.com.

★

FOLK

THU 12/6 FRI 12/7

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

Steve Forbert. 7:30 p.m. $20–$25. unionstage.com.

THU 12/20

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

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Stacey Kent. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

FRI 12/21

POP

SAT 12/22 THU 12/27

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Hamilton Singalong. 6 p.m. Free. kennedy-center.org.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Kurt Vile & The Violators. 8 p.m. $31. 930.com.

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. The Brian Setzer Orchestra. 8 p.m. $55–$125. theanthemdc.com.

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

8 p.m. $15. blackcatdc.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. Brandon “Taz” Niederauer. 11 p.m. $15. pearlstreetwarehouse.com.

SATURDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Britten’s War Requiem. 8 p.m. $15–$89. kennedy-center.org.

FOLK

UNION STAGE 740 Water St. SW. (877) 987-6487. The Paper Kites. 7:30 p.m. $20–$35. unionstage.com.

SAT 12/29 MON 12/31

BARBER SHOP CHRONICLES

Brexit may be closing down British borders, but the U.K.’s National Theatre remains intent on opening new worlds. Barber Shop Chronicles, a 2017 play that enjoyed successful runs at the National last year and now runs at the Kennedy Center, invites audiences to eavesdrop on black barbershops around the world. A cast of African and Afro-Brit men runs, sings, and dances with scissors in this ensemble production that features stories from Johannesburg, Harare, Kampala, Lagos, Accra, and London. “The great thing about barbershops is what they tend to deal with is identity. It’s almost like a psychiatrist's chair, in a way,” says actor Maynard Eziashi. The scenes he captures onstage are more fun than therapy, however, analogous to a post-colonial support group where the barbers wield their capes like matadors dancing to Afrobeats. The New York Times said the audience could get caught up in the play's “giddy verbal jam session,” and The Guardian said it’s “a cut above the rest.” LOL. We see what they did there. Hopefully, the play will be buzzworthy in D.C., too. The show runs to Dec. 1 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $29–$99. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Stacey Kent. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Soccer Mommy. 8 p.m. $15–$17. rockandrollhoteldc.com.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. NPR’s A Jazz Piano Christmas. 7 p.m.; 9 p.m. $55–$65. kennedy-center.org.

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

POP

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

WHY? Plays Alopecia. 7 p.m. $20. ustreetmusichall.com.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Brad Linde and Brian Settles. 6 p.m. Free. kennedy-center.org.

WORLD

POP

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Chad Michaels and The Capital Hearings. 6 p.m. Free. kennedy-center.org.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Kurt Vile & The Violators. 8 p.m. $31. 930.com.

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

Dark Star Orchestra. 7:30 p.m. $40–$60. theanthemdc.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Soccer Mommy. 8 p.m. $15–$17. blackcatdc.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Red Baraat. 8 p.m. $30–$35. wolftrap.org.

SUNDAY CLASSICAL

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

(703) 255-1900. Eileen Ivers. 3 p.m.; 8 p.m. $27–$32. wolftrap.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Stacey Kent. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

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

Pentatonix. 7 p.m. $59.50–$149.50. theanthemdc. com.

FRI 1/4 SAT 1/5 TUE 1/8

CALEB CAUDLE THE TALBOTT BROTHERS C2 + THE BROTHERS REED WARD DAVIS (FULL BAND) $20 LEFT LANE CRUISER $15 MICHELLE HANNAN & ONE BLUE NIGHT FAT NIGHT $12/$15 THE BAND OF HEATHENS NYE $50/$65 WOODSHEDDERS HUMAN COUNTRY JUKEBOX JACKSON DEAN BAND $10/$15

SUN 1/20 AMANDA ANNE PLATT & THE HONEYCUTTERS $14/$16 FRI 2/1 MO LOWDA & THE HUMBLE $12/$15 THU 2/7 SAM BURCHFIELD & PIERCE EDENS $12/$15 SAT 2/9 REED SOUTHHALL BAND/ KODY WEST BAND $15 HILL COUNTRY BARBECUE MARKET

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Peter Bjorn and John. 8 p.m. $25. rockandrollhoteldc. com.

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

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Scott Helman. 8 p.m. $10–$12. songbyrddc.com.

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

washingtoncitypaper.com november 30, 2018 31

CITY LIGHTS: SATURDAY

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

YASMINE HAMDAN

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

Tix @ Ticketmaster.com 800-745-3000 with row Tomor Night!

with

Washington, DC

NOV 29

with

with

Fri. Nov. 30 - 8pm

Presented by

Tickets at Ticketfly.com/877-435-9849.

Washington, DC

Washington, Fri. Nov. 30 -DC8pm

Tickets Nov. at Ticketfly.com/877-435-9849.

Fri. 30 - 8pm

CRASH

Nov 29 An Acoustic Evening withWashington, DC Washington, DC

DUMMIES

30

TEST

W/ TODD WRIGHT FRIDAY NOV

30

SUN, DEC 2

EMMYLOU HARRIS:

AN INTIMATE PERFORMANCE BENEFITING BONAPARTE’S RETREAT W/ SPECIAL GUESTS THE RED DIRT BOYS, PHIL MADEIRA, WILL KIMBROUGH, CHRIS DONOHUE, BRYAN OWINGS

TUES, DEC 4

AN EVENING WITH

A REDD CHRISTMAS

W/ THE REDD BROTHERS QUARTET

SHAWN COLVIN

by 30Presented - 8pm Seth Fri. Nov. 30 - Fri. 8pmNov.

with

PURE PRAIRIE LEAGUE & FIREFALL Washington, DC

Fri. Nov. 30 - 8pm

Presented by

Tickets at Ticketfly.com/877-435-9849.

Dec 1

Newmyer Flyer Presents

LITTLE FEAT Lauren 2 JUSTIN TOWNES EARLE Calve

A Tribute to

ROBERT GLASPER 5 A PETER WHITE CHRISTMAS 3&4

with RICK BRAUN & EUGE GROOVE

Rheault LISSIE Kathryn BEBEL GILBERTO SARA EVANS Fairground Saints "At Christmas"

6 7 8

W/ VILRAY

11 Marine Corps Scholarship Foundation

SUN, DEC 16

JEFF “SKUNK” BAXTER & The American Vinyl All Star Band with many special guests!

AN EVENING WITH

WHOSE HAT IS THIS? WED, DEC 19

AN EVENING WITH

CHERYL WHEELER & JOHN GORKA Benefit Concert featuring

AVERY*SUNSHINE Liz 13 CARBON LEAF Longley Adam 15 SOUTHSIDE JOHNNY & THE ASBURY JUKES Ezra 16 NORMAN BROWN'S JOYOUS XMAS 12

BOBBY CALDWELL & MARION MEADOWS

EVERETT BRADLEY’S HOLIDELIC

with

FRI, DEC 21

18&19

W/ TIMMIE METZ BAND

20

VIRGINA COALITION SAT, DEC 22

YELLOW DUBMARINE

W/ THE FUSS

WED, DEC 26

AN EVENING WITH

LIVE AT THE FILLMORE: THE DEFINITIVE TRIBUTE TO THE ORIGINAL ALLMAN BROTHERS BAND

JUDY COLLINS "Holidays & Hits"

A JOHN WATERS CHRISTMAS 21 BILL KIRCHEN & COMMANDER CODY "Honky Tonk Holiday Show!"

A Very MAYSA Christmas 23 LUTHER RE-LIVES "Holiday Show feat. William "Smooth" Wardlaw 22

PIFF THE MAGIC DRAGON 28 PIECES OF A DREAM 29 LAST TRAIN HOME with special guest Cravin' Dogs 26&27

30

THEHAMILTONDC.COM

Presented by

Glier

9

MON, DEC 17

Presented by

Tickets at Ticketfly.com/877-435-9849.

Tickets at Ticketfly.com/877-435-9849.

JON McLAUGHLIN: THE 2018 THIS TIME OF YEAR TOUR BONERAMA

Presented by

Tickets at Ticketfly.com/877-435-9849. with

with

TUES, DEC 11

W/ ELLIS DYSON & THE SHAMBLES

Presented by

with Tickets at Ticketfly.com/877-435-9849.

W/ DEN-MATE

THURSDAY

Washington, DC

Fri. Nov. 30 - 8pm

22nd Annual

HANK WILLIAMS TRIBUTE SHOW!

32 november 30, 2018 washingtoncitypaper.com

NARRATIVE: CONTEMPORARY PHOTOGRAPHY AND THE ART OF STORYTELLING

It’s not every day that an exhibition showcasing 14 diverse artists offers consistently impressive work, but Studio Gallery’s group show Narrative: Contemporary Photography and the Art of Storytelling manages to pull it off. Among the highlights: Leena Jayaswal’s large, black-and-white image of two hooded figures walking on a jetty under an apocalyptic sky; Steven Marks’ pleasingly fractured, richly colored portrayals of human figures standing in anonymous spaces; Jo Levine’s clever image of a campfire photographed through the fire’s heat waves; and Chris Prosser’s inky, nighttime images—years of passing time separating them—of D.C. street corners. Of special note are two photographers who documented the American Southwest. Gary Anthes photographed (with detailed explanatory captions) several Navajo Nation locales and Kim Llerena documents lonely locales in Arizona and Texas, Stephen Shore-style, while attaching faux bronze historical plaques cribbed from a newer muse, Wikipedia. The exhibition is on view to Dec. 1 at Studio Gallery, 2108 R St. NW. Free. (202) 232-8734. studiogallerydc.com.

—Louis Jacobson

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

Flint Eastwood. 7 p.m. $15. ustreetmusichall.com.

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

Union Stage & Songbyrd Present Harry Hudson. 7:30 p.m. $16–$75. unionstage.com.

ROCK

BLACK CAT 1811 14th St. NW. (202) 667-4490. Woodgrove. 7:30 p.m. $10. blackcatdc.com.

MONDAY CLASSICAL

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Eunbi Kim. 6 p.m. Free. kennedy-center.org.

JAZZ

KENNEDY CENTER EISENHOWER THEATER 2700 F St. NW. (202) 467-4600. Thelonious Monk Institute of Jazz presents International Piano Competition & AllStar Gala Concert. 7:30 p.m. $35–$125. kennedy-center.org.

POP

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

Pentatonix. 7 p.m. $59.50–$149.50. theanthemdc. com.

ROCK

BLACK CAT 1811 14th St. NW. (202) 667-4490. Unring the Bell. 7:30 p.m. $10. blackcatdc.com.

TUESDAY ELECTRONIC

9:30 CLUB 815 V St. NW. (202) 265-0930. Polo & Pan. 7 p.m. $20. 930.com.

HOLIDAY KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The Peace Ringers and Carol Ringers. 6 p.m. Free. kennedy-center.org.

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

Bastille, Andrew McMahon In The Wilderness, Meg Myers, and The Glorious Sons. 7 p.m. $55–$95. theanthemdc.com.

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

7:30 p.m. $10. blackcatdc.com.

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

WEDNESDAY CLASSICAL

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Fortas Chamber Music Concerts: The Tallis Scholars. 7:30 p.m. $45. kennedy-center.org.

Jazz

CITY LIGHTS: SUNDAY

Jason Moran

HOW TO KEEP AN ALIEN

Love may be a universal language, but if you fall for a foreign national, good luck convincing your country’s government. In How to Keep an Alien, Sonya collects a massive paper trail—from intimate emails to utility bills—and presents it as evidence to Irish immigration authorities who have the pleasure of determining whether Sonya’s Australian girlfriend Kate can remain in the country, or whether she’s on the next flight back to Oz. Playwright Sonya Kelly played herself in the original, autobiographical production, which was awarded best production in the 2014 Tiger Dublin Fringe Festival. The comedy has since enjoyed cross-continental runs in Brisbane, Edinburgh, London, New York, and Auckland. The Solas Nua production features astute local actress Tonya Beckman stepping into Sonya’s role under Tom Story’s direction. Nick Fruit will serve as stage manager and play a variety of supporting roles. At a time when so much American media coverage is focused on torn apart Central American migrant families, the play reminds us that skeptical bureaucracies separate families all around the world—and people must cut through oceans of red tape before grabbing hold of the familial ties that bind. The show runs to Dec. 16 at Dance Loft on 14, 4618 14th St. NW. $35–$45. (765) 276-8201. solasnua.org. —Rebecca J. Ritzel

Artistic Director

© Camille Blake and Jazzfest Berlin 2018, Berliner Festspiele

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

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

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

A co-commission by 14-18 NOW: WW1 Centenary Art Commissions, the Kennedy Center, and Serious

CITY LIGHTS: MONDAY Discovery Artist in the KC Jazz Club

Quiana Lynell

Friday, December 14 at 7 & 9 p.m.

Enjoy festive holiday favorites with soul! Winner of the 2017 Sarah Vaughan International Jazz Vocal Competition, New Orleans–based Quiana Lynell performs seasonal classics, approaching the music as a storyteller. Her sound—a mix of jazz, classical, soul, and funk—is unlike any artist’s today.

THE INTERNET

With breezy bedroom beats and lush late-night grooves, The Internet began seducing modern lovers everywhere in 2011 with its digital approach to acid jazz. Core members, vocalist Syd (formally known as Syd Tha Kyd and hip-hop group Odd Future’s DJ) and keyboardist Matt Martians, formed The Internet as a soulful reprieve from the rambunctious Odd Future boys. Now with the addition of guitarist Steve Lacy, bassist Patrick Paige II, and drummer Christopher Smith, on its fourth studio album, Hive Mind, The Internet sounds more robust and cohesive than ever before.

But the real magic is seeing Syd finally emerge from her shell. For years, she was content hiding in the shadows of Odd Future’s spotlight, but with The Internet, she is unstoppable. She has become a force, a frontwoman fearlessly leading a group of talented men while pioneering an impassioned movement for queer women. The Internet perform at 8 p.m. at the Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $35. (301) 960-9999. fillmoresilverspring.com. —Casey Embert

Bobby Sanabria MultiVerse Big Band: West Side Story Reimagined Friday, January 18 at 7 & 9 p.m.

With an all-new instrumental orchestration of lively Latin jazz, electrifying percussionist/ bandleader Bobby Sanabria and his MultiVerse Big Band pay tribute to the beloved Broadway masterpiece that redefined the American musical.

Kennedy-Center.org (202) 467-4600

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

Discovery Artists in the KC Jazz Club are supported by The Buffy and William Cafritz Family Foundation and The King-White Family Foundation and Dr. J. Douglas White.

washingtoncitypaper.com november 30, 2018 33

ELECTRONIC

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

Shlump. 10 p.m. $15–$20. ustreetmusichall.com.

HOLIDAY

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Washington Performing Arts’ Children of the Gospel Choir. 6 p.m. Free. kennedy-center.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. A Chaise Lounge Christmas. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Elley Duhe. 8 p.m. $10– $12. songbyrddc.com.

ROCK

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

THURSDAY CLASSICAL

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

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Noseda conducts Mahler’s First Symphony. 7 p.m. $15–$89. kennedy-center.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Washington Performing Arts presents Simone Dinnerstein. 7:30 p.m. $70. kennedy-center.org.

ELECTRONIC

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

Ulterior Motive. 10:30 p.m. $20–$25. ustreetmusichall.com.

FOLK

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

The Ballroom Thieves. 8 p.m. $15. rockandrollhoteldc.com.

FUNK & R&B

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

HOLIDAY

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. N’Kenge. 6 p.m. Free. kennedy-center.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP

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

Roosevelt. 7 p.m. $15–$18. ustreetmusichall.com.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Marcus King Band. 7 p.m. $20. 930.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. JD McPherson. 7:30 p.m. $25. blackcatdc.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. Patterson Hood of Drive-By Truckers. 9 p.m. $30. pearlstreetwarehouse.com.

CITY LIGHTS: TUESDAY

PODCAST

Every week, City Paper reporters interview someone who helps tell the story of D.C.

PODCAST

Subscribe at washingtoncitypaper.com/podcast or wherever you get you podcasts.

34 november 30, 2018 washingtoncitypaper.com

ROBERT GLASPER

No one has done more to eradicate the “I listen to everything except for jazz” mindset than Robert Glasper, the Houston-born singer, pianist, and producer who has been a jazz heavyweight for more than a decade. One of the keys to Glasper’s success is his attitude about collaboration, which has seen him work with the likes of Jay-Z, Talib Kweli, Common, Erykah Badu, Maxwell, and Meshell Ndegeocello. This approach resulted in a pair of Black Radio albums that traipsed the jazz-R&B-hip-hop spectrum and looked outside the usual songbooks for inspiration, like when Glasper and company covered David Bowie and Nirvana. In addition to winning a Grammy for the first Black Radio, Glasper contributed to Kendrick Lamar’s game-changing album To Pimp a Butterfly. And Glasper isn’t done looking to bring jazz to new audiences, enlisting electronic adventurer Kaytranada to remix his latest project. He takes all-comers. Robert Glasper performs at 7:30 p.m. at The Birchmere, 3701 Mount Vernon Ave., Alexandria. $59.50. (703) 549-7500. birchmere.com.

—Chris Kelly

CITY LIGHTS: WEDNESDAY

ENDANGERED: FROM GLACIERS TO REEFS

Two art exhibitions at the National Academy of Sciences look forward and backward at global science and technology.

In Endangered: From Glaciers to Reefs, Diane Burko uses mixed media to peer into the troubled present and future of glaciers and coral reefs in a time of extreme climate change. One large painting cleverly uses cracked layers of paint to depict a glacier under stress, and another smartly harnesses lenticular technology and light boxes to evoke atmospheric changes. Meanwhile, the backward-looking exhibition, Ground Truth: Corona Landmarks, is a series of Julie Anand and Damon Sauer photographs that document the once top-secret Corona program, a Cold War satellite-surveillance project.

Echoing Trevor Paglen’s works, Anand and Sauer located and photographed a now-crumbling network of concrete and rock symbols that were embedded in the Arizona desert floor to help calibrate the satellites. Both exhibitions document mankind’s dominion over, and eventual destruction of, the land. It’s changed our past, present, and future. The exhibition is on view to Jan. 31, 2019 at the National Academy of Sciences, 2101 Constitution Ave. NW. Free. (202) 334-2415. cpnas.org.

—Louis Jacobson

Books

CARLA HALL In this intimate conversation with Carla Hall, moderated by NPR’s Melissa Block, she celebrates the release of her cookbook Carla Hall’s Soul Food: Everyday and Celebration, in which she reimagines and redefines what soul food really means, telling stories and presenting 145 recipes drawn from the soul food she was raised on in Nashville, Tennessee. Politics and Prose at Union Market. 1270 5th St. NE. Nov. 30. 7 p.m. $25–$50. (202) 364-1919.

ELAINE PAGELS Facing grief and anger, author Elaine Pagels turned to religion for help, and interweaving her own experiences with the scholarship of behind religious text, Pagels speaks about her memoir Why Religoin?: A Personal Story. Politics and Prose. 5015 Connecticut Ave. NW. Nov. 30. 7 p.m. Free. (202) 3641919.

PETE SOUZA Former White House photographer Pete Souza signs copies of his book Obama: An Intimate Portrait, centered on his years photographing and spending time with President Barack Obama.

Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Dec. 3. 6:30 p.m. $30. (202) 387-1400.

STORMY DANIELS In conversation with Washington Post legend and author Sally Quinn, Stormy Daniels offers a forthright account of her life—which, for her, began as a bright kid from Louisiana who wanted to be a writer and loved horses—speaking about her new memoir, Full Disclosure. Politics and Prose.

5015 Connecticut Ave. NW. Dec. 3. 6 p.m. Free. (202) 364-1919.

Dance

BALLET WEST: THE NUTCRACKER Ballet West returns to the Kennedy Center with the D.C. premiere of its new Nutcracker. Kennedy Center Opera House.

2700 F St. NW. Dec. 5. 7:30 p.m.; Dec. 6. 7:30 p.m. $59– $175. (202) 467-4600. kennedy-center.org.

THE WASHINGTON BALLET’S NUTCRACKER This celebrated Christmas favorite is set in historic Georgetown, combining Revolutionary War-era historical figures with the traditional Nutcracker characters. Warner Theatre. 513 13th St. NW. Nov. 30. 7 p.m.; Dec. 1. 7 p.m.; Dec. 2. 7 p.m.; Dec. 3. 7 p.m.; Dec. 4. 7 p.m.; Dec. 5. 7 p.m.; Dec. 6. 7 p.m. $32–$136. (202) 7834000. warnertheatredc.com.

Theater

ANYTHING GOES This “gold standard” musical comedy with music by Cole Porter tells the story of ocean liner stowaway Billy Crocker, who seeks to win the love of heiress Hope Harcourt and stop her marriage to the millionaire Lord Evelyn Oakleigh. Arena Stage.

1101 6th St. SW. To Dec. 23. $66–$105. (202) 4883300. arenastage.org.

BEAUTIFUL: THE CAROLE KING MUSICAL This Grammy-winning jukebox musical chronicles Carole King’s rise to stardom, from her partnership with lyricist Gerry Goffin to her successful solo career, using her hit songs including “I Feel The Earth Move” and “You’ve Got A Friend.” National Theatre. 1321 Pennsylvania Ave. NW. To Dec. 30. $54–$114. (202) 628-6161. nationaltheatre.org.

CRY IT OUT This comedy by Molly Smith Metzler tells the story of next-door neighbors Jessie and Lina, who bond over their infant-rearing struggles during their maternity leaves. Studio Theatre. 1501 14th St. NW. To Dec. 16. $20–$80. (202) 332-3300. studiotheatre.org.

ELF In this heartwarming family musical adapted from the film by the same name, a young elf learns of his true identity as a human and travels to New York to find his father while spreading the Christmas cheer. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Jan. 6. $37–$84. (301) 9243400. olneytheatre.org.

GEM OF THE OCEAN This Timothy Douglas-directed production of August Wilson’s Tony-nominated play is the first in a ten-play series that dramatizes the African American experience. Set at the turn of the century in Pittsburgh’s Hill District, it centers on a young man who arrives at the house of 285-yearold soothsayer Aunt Ester in search of redemption.

FACTS ABOUT STAR

Star is a 9 month old Saluki mix puppy rescued from Qatar.

Star is a handsome and social pup who can’t wait to find his forever home. He is very playful and loving. He loves every person he meets and being affectionate and snuggling are two of his favorite things. He is extremely calm and mostly likes to sleep during the day. He has a foster brother who he plays with nicely, and while he is very submissive around humans, he is usually the alpha dog around other canines. He is not food aggressive and doesn’t mind getting his nails trimmed or getting his teeth brushed. He is so calm and loving and will make a perfect companion for his forever family!

MEET STAR!

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

” D VICE VOTE PET SER18 T 0 “BES T OF DC 2

emte.

plike ho e a c a l te there’s no p i s s u beca BES

PROFESSIONAL IN-HOME PET SITTING

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

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DO YOU USE HEROIN OR OTHER OPIATES? YOU MAY BE ELIGIBLE FOR A RESEARCH STUDY The National Institutes of Health (NIH) is looking for volunteers who use opiates regularly or who are receiving treatment for opiate use.

The purpose is to learn how opiates affect brain function.

• • • •

Up to four study visits Medical exam and personal interview All study procedures and transportation at no cost Compensation is provided

You can participate if you are:

• 18-65 years old • Using opiates daily or almost daily • Receiving or not receiving treatment for opiate use

You cannot participate if you:

• Have a serious medical condition, such as HIV • Have a psychiatric condition, such as schizophrenia that requires medication or hospitalization • Are pregnant or breastfeeding

Location: The NIH Clinical Center in Bethesda, MD, is located on the Metro Red line (Medical Center stop).

For more information, call The NIH Clinical Center Office of Patient Recruitment

1-800-411-1222

(refer to study 17-AA-0114) TTY for the deaf or hard of hearing: 1-866-411-1010 Se habla español https://go.usa.gov/xNvcz IRB approved ad 06/20/2018 National Institute on Alcohol and Alcohol Abuse National Institutes of Health U.S. Department of Health and Human Services NIH...Turning Discovery Into Health® washingtoncitypaper.com november 30, 2018 35

CITY LIGHTS: THURSDAY

TRIBE: CONTEMPORARY PHOTOGRAPHY FROM THE ARAB WORLD

World news coverage seems to be the extent of American knowledge about photography in the Arab world. Tribe: Contemporary Photography from the Arab World eschews that, focusing instead on art, much of it deeply personal, published in the Dubai-based magazine Tribe. Some images grapple with gender politics: Ibi Ibrahim offers a threepanel series depicting an awkward courtship between a man and woman in old-fashioned attire, seen only from the waist down. Some images elicit deep thought, like Amani Al Shaali’s dreamlike image of a woman besieged by falling knives. But some are simply visually arresting, such as Arwa Abouon’s paired images of a husband and wife kissing each other on the head as an apology—the artist superimposes abstract black-and-white designs on their all-white clothing and the background. The exhibition is on view to Dec. 16 at the American University Museum, 4400 Massachusetts Ave. NW. Free. (202) 885-1300. american.edu/cas/museum.

—Louis Jacobson

EXCLUSIVE ENGAGEMENTS START FRIDAY, NOVEMBER 30 WASHINGTON, DC Landmark’s E Street Cinema (202) 783-9494

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BETHESDA Landmark’s Bethesda Row Cinema (301) 652-7273

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Washington City Paper

FRIDAY 11/30 RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE 1/4PG (4.666”) X 5.141” ALL.FAVORI.1130.WCP

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Kris Allen

NOV 29

josh kelley

NOV 30

DEC 1

DEC 1

an evening with

Livingston Taylor Matinee Show

pat mcgee

DEC 5

DEC 5

Somethin’ About Christmas Tour W/ Sawyer

in the wine garden

the subdudes

DEC 2

DEC 2

DEC 4

Victory Boyd

BETTY

w/ special guest Infinity’s Song

holiday show

DEC 6

DEC 6

jane lynch

“A Swingin’ Little Christmas” (2 shows!)

China Crisis

in the Wine Garden

Man About A Horse, The Wooks

J Mascis

an evening with w/ dan mills

Lee DeWyze

in the wine garden

w/ special guest Luluc

w/ Frank Viele in the Wine Garden

DEC 7

DEC 8

DEC 9

Laughs A-Go-Go

w/ Gina Yashere, A-Train, M. Lewis.

Hosted by Niki Moore w/ DJ Oxygene

conya doss

Riley Knoxx:

An Illusion of Queen Bey

1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

36 november 30, 2018 washingtoncitypaper.com

Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Dec. 23. $36–$51. (240) 6441100. roundhousetheatre.org.

HOW TO CATCH A STAR Oliver Jeffers’ beloved children’s book about a boy who tries to befriend a star comes to life in this colorful Jared Mezzocchi-directed production. Kennedy Center Family Theater. 2700 F St. NW. To Dec. 16. $20. (202) 467-4600. kennedy-center.org.

INDECENT Pulitzer Prize-winner Paula Vogel’s deeply moving play tells the story of the Yiddish drama God of Vengeance, a work deemed “indecent” for themes of censorship, immigration and antisemitism when it premiered on Broadway in 1923, and the true story of the creators that risked their careers to bring it to the stage. Arena Stage. 1101 6th St. SW. To Dec. 30. $56– $76. (202) 488-3300. arenastage.org.

AN INSPECTOR CALLS Stephen Daldry’s Olivier-winning production of J.B. Priestley’s An Inspector Calls, hailed as a staple of modern British theatre, comes to D.C. Set on one night in 1912, the play tells the story of an upper-class British family who is visited by a mysterious inspector seeking details about a workingclass woman who committed suicide. Sidney Harman Hall. 610 F St. NW. To Dec. 23. $44–$102. (202) 5471122. shakespearetheatre.org.

KING JOHN This historic Shakespeare play dramatizes the life of King John of England, who wages war on France after the King Philip demands that he renounce the throne. Directed by Aaron Posner, this production features Kate Eastwood Norris as Philip the Bastard and Holly Twyford as Constance. Folger Shakespeare Library. 201 E. Capitol St. SE. To Dec. 2. $42-$79. (202) 544-7077. folger.edu.

THE PANTIES, THE PARTNER AND THE PROFIT Playwright David Ives adapts and translates Carl Sternheim’s German comedic trilogy Scenes from the Heroic Life of the Middle Class into one play in this Michael Kahn-directed production. Lansburgh Theatre. 450 7th St. NW. To Jan. 6. $44–102. (202) 5471122. shakespearetheatre.org.

WORLD STAGES: BARBER SHOP CHRONICLES Following its successful run at London’s National Theatre, this heartwarming play arrives in D.C. Set in six different cities around the world, Barber Shop Chronicles paints an intimate portrait of the barbershops where African men gather to discuss their lives. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Dec. 1. $29–$99. (202) 467-4600. kennedy-center.org.

Film

CREED II Michael B. Jordan reprises his role as boxer Adonis Creed in this sequel in which he competes against the son of Ivan Drago and tries to live up to his famous boxing father’s legacy. Co-starring Sylvester Stallone and Tessa Thompson. (See washingtoncitypaper.com for venue information) FATHER (BABAI) The Goethe-Institut presents Father, the story of a young Serbian boy who embarks on a perilous journey to find his father in Germany. The film is screened in German with English subtitles. (See washingtoncitypaper.com for venue information) THE FAVOURITE In the early 18th century, Abigail, a new servant to frail Queen Anne whose charm endears her to the queen’s close friend Lady Sarah, seeks to fulfill her ambitions. Starring Olivia Colman, Emma Stone, and Rachel Weisz. (See washingtoncitypaper.com for venue information) GREEN BOOK A black American pianist goes on the road with an Italian-American bouncer on a tour of the American South in 1962. Starring Mahershala Ali, Viggo Mortensen, and Linda Cardellini. (See washingtoncitypaper.com for venue information) MOWGLI: LEGEND OF THE JUNGLE Mowgli, a human child raised by wolves, must find himself and face off against a menacing tiger in the wilds of the jungle.

Starring Christian Bale, Benedict Cumberbatch, and Cate Blanchett. (See washingtoncitypaper.com for venue information) RALPH BREAKS THE INTERNET Ralph and Vanellope discover Wi-Fi in their arcade—six years after the events of Wreck-It Ralph—and chaos and adventure ensue. Starring John C. Reilly, Sarah Silverman, and Gal Gadot. (See washingtoncitypaper.com for venue information) ROBIN HOOD Taron Egerton stars as the titular hero who mounts a revolt against the corrupt and powerful English crown. Co-starring Jamie Foxx and Ben Mendelsohn. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I’m a 30-year-old, Asian American, hetero-flexible cis woman. I’m also newly diagnosed with bipolar II. I’m on medication—the doctor is trying to figure that out—but no talk therapy for right now, as my last therapist wasn’t great and I haven’t managed to find a new one. My question for you is regarding the relationship between bipolar and kink. One of the common symptoms of the manic stage of bipolar is “risky sex.” I equate risk with “likely to blow up one’s personal or professional life” and have always answered “no” to that question when asked by doctors. I’ve had the occasional hookup, but otherwise I’ve consistently had sex in the context of closed, monogamous relationships, i.e., the opposite of risky sex. However, it recently occurred to me that I’m fairly kinky (BDSM, role-play). Nothing I’d consider a varsity-level kink, but what do I know? I have outthere fantasies that are varsity level, but I’ve never done them. Am I just bipolar and kinky? Are the two related somehow? Should I be concerned that I’ll go into a manic state and start enacting (or trying to enact) some of the varsity-level fantasies in my head?

—Kinky And Bipolar P.S. I asked my doctor this via email, but I haven’t heard back yet and have no idea how sex-positive he is. So I thought I’d get a second opinion.

P.P.S. I’m currently manic enough that it’s hard for me to edit, so there may be weird/confusing shit in my letter. Sorry for that!

“I’d like to congratulate KAB for seeking help and for the work she’s doing to get stable,” said Ellen Forney, author of Rock Steady: Brilliant Advice from My Bipolar Life, an award-winning self-help guide to maintaining stability, and the best-selling graphic memoir Marbles: Mania, Depression, Michelangelo & Me. “I’d also like to welcome KAB to BIPOLAR! Toot!

Toot! Confetti!”

The specific manic-stage symptom you’re concerned about—engaging in super risky sex—is called “hypersexuality,” and it’s what happens when the extremely poor judgment match meets the supercharged libido gas.

“But it’s only ‘hypersexuality’ when it gets in the way of a reasonably well functioning life,” said Forney. “Picture masturbating all day instead of going to work, or having relationship-wrecking affairs or unprotected sex with strangers.”

If your diagnosis is correct and you have bipolar II and not bipolar I, KAB, you may be less susceptible to out-of-control hypersexuality.

“Strictly speaking, a bipolar II diagnosis means she cycles between ‘hypomania’ (mild mania) and depression,” said Forney, “so her highs aren’t going to be as acute as they would be for someone diagnosed with bipolar I, where hypersexuality can really get dangerous.”

Forney warns that misdiagnoses are not uncommon where bipolar is concerned, so you

might want to get your diagnosis confirmed. But your long-standing kinks all by themselves—varsity and otherwise—aren’t necessarily related to your condition, KAB, and so long as they’re safely expressed and explored, you aren’t doing anything unreasonably risky or wrong.

Drag can be sexist, but it doesn’t have to be. And when done right, it isn’t.

Blackface is always racist.

“Kinky sex in itself doesn’t count as symptom-worthy risky sex—no matter what her doctor emails back,” said Forney. “Like for anyone else, there’s nothing necessarily wrong with feeling uninhibited enough to pursue varsity-level kinks, so long as they’re not putting her or anyone else in danger. Ultimately, KAB’s goal is to be stable enough to trust her judgment. For now, she might weigh the risks while she’s feeling stable, so she can make some levelheaded decisions about what might or might not be too risky.”

Forney also recommends having a discussion with your partners and friends about what your limits are—a discussion you’ll want to have when you’re not horny or manic or both.

“That way, her partners and friends can help her recognize if she’s crossing her own lines,” said Forney. “And realizing that she’s suddenly tempted to cross her own lines could be a signal to her that she’s getting hypomanic and needs to take steps to stabilize— steps like getting better sleep, adjusting her meds, and others I explore in Rock Steady!”

—Dan Savage P.S. If your doctor won’t answer your sex questions—or only gives you unhelpful, sex-negative, kink-shaming answers—find yourself a new doctor.

P.P.S. There are letters I have to read three times before I can figure out what the fuck is going on.

Your letter was as lucid as it was charming.

P.P.P.S. Therapists across the country are recommending Rock Steady to their patients with mood disorders, and Forney won a Media Partner Award from the National Alliance for Mental Illness for her work on Rock Steady and Marbles. If you haven’t already, KAB, please pick up Forney’s books. You’ll benefit from her insights, her advice, and her coping strategies.

And thanks to Forney’s art and sense of humor, both books are a delight to read.

I am 36 and female, and I’ve been with my current boyfriend for seven years. We were friends for four years before we started dating. He is very slow at making decisions and not a risk taker, and I am somewhat opposite. I think there are times when you have to take a leap of faith, and if it turns out it was a mistake, you learn and grow from it. We lived together on his family’s property the first six years after I moved to his hometown. He’s waiting in hopes that the property gets handed down to him. I don’t live my life in hopes that something will happen that’s out of my control, so I purchased my own home. He moved in. We have not split all costs in half because he said he needs to take care of the other home. It’s been six months, and I’m growing impatient for him to commit. We’ve had several conversations, and I’ve given him until the end of the year to decide if we should go our separate ways. I said if we are going to be together, we need to be a team and support each other. He was actually taken aback because he thought we were doing fine. One thing he said made me question it all. He said, “I feel that you’re supposed to know and have this feeling when you’re ready to move forward to be with a person forever.” I was so confused by that comment. My friends say it can’t only be me who wants this; he has to want it, too. Is it time for me to just move on?

—Mulling Over Very Emotional Options Now Move on, MOVEON, but keep an open mind.

Seeing you move on may help your boyfriend realize he does want to be with you forever—it’ll help him “know”—and if you haven’t realized in the interim that you don’t want to be with him, you can move back in (and move on) together down the road. But unless inheriting the family property is a sure thing—a sure thing you’ll both benefit from in the long run—he needs to pay his fair share. No more freeloading.

—DS

Why should I, a feminist, be okay with drag?

How is it any different than blackface?

—Tough Question Drag can be sexist, TQ, but it doesn’t have to be. And when done right, it isn’t. Blackface is always racist. Drag celebrates the craft of hyperfeminine presentation. Drag demonstrates that so much of what we think of as “naturally” feminine is not just a social construct, but quite literally a construction. Drag has the power to explode sexism, to expose it, by complicating people’s preconceptions and misconceptions about what it means to be a woman. Blackface can only reinforce and amplify racism. —DS Email your Savage Love questions to mail@savagelove.net.

LIVE MUSIC | BOURBON | BURGERS

NOVEMBER TH 29 7HORSE w/ MSB F 30

BRANDON “TAZ” NIEDERAUER w/ COLIN THOMPSON BAND

DECEMBER TH 6 AN EVENING WITH PATTERSON HOOD OF DRIVE-BY TRUCKERS AN EVENING WITH PATTERSON HOOD OF DRIVE-BY TRUCKERS SA 8 CHOPTEETH SU 9 WOMEN WHO ROCK: A TRIBUTE TO THE 90s SU 16 ADAM EZRA GROUP FR 7

TH 20 WIL GRAVATT F 21

THE NIGHTHAWKS

SA 22 MICAH ROBINSON LIVE w/ BOOMSCAT F 28

ELI LEV & THE FORTUNES FOUND w/ HAYLEY FAHEY BAND M 31 A BLUES, ROCK & SOUL NEW YEAR’S EVE EXTRAVAGANZA w/ ROCK-A-SONICS, LINWOOD TAYLOR

JANUARY F4

SOUL CRACKERS “BETTER LATE THAN NEVER” NEW YEAR’S DANCE! FEATURING TOMMY LEPSON & THE TOO MUCH SISTERS

SA 5

THE ALL-STAR “GRACELAND” TRIBUTE BAND w/ BAKITHI KUMALO & RYAN TENNIS

TH 10 AMERICANA NIGHT FEATURING DREW GIBSON (FULL BAND) w/ NICOLE BELANUS TRIO F 11

BOBBY THOMPSON TRIO, THE RON HOLLOWAY TRIO

SA 12 SAIL ON WITH THE LOVE BOAT: AN ALL-STAR 70s YACHT ROCK TRIBUTE FEATURING MEMBERS OF PSYCHO KILLERS, YELLOW DUBMARINE, ELECTRIC LOVE MACHINE AND MORE!

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FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF washingtoncitypaper.com november 30, 2018 37

Avenue, Riverdale, NY 10471 was appointed Personal Representative Adult . . . . . . . . . . . . . . . . . . . . . . . 42 SUPERIOR COURT of the estate of Ralph OF THE DISTRICT OF Austin, E. Auto/Wheels/Boat . . . a/k/a, . . . . .Ralph . . . 42 COLUMBIA Austin, Jr who died on Buy, Sell, Trade . . July . . . 18, . . .2004, . . . . without . . . . . .a PROBATE DIVISION 2018 ADM 001352 Marketplace . . . . Will . . .and . . .will . . .serve . . . .with 42 Name of Decedent, MArCourt Supervision. All cea C.Community Austin. Notice of . . . . . unknown . . . . . . .heirs . . . and . . . heirs 42 Appointment, Notice to whose whereabouts are Employment . . . . . . .shall . . . enter . . . 42 Creditors and Notice to . . . . unknown Unknown Heirs, Sharon Health/Mind . . . . their . . . .appearance . . . . . . . .in . .this . .

Peek Lewis, whose adproceeding. Objections dress Body is 13801 &Oxnard Spirit . . . . to . .such . . . appointment . . . . . . . . 42 Street #211, Valley shall be filed with the . . . . . . of . .Wills, . . . .D.C., . 42 Glen, Housing/Rentals CA 91401 was Register appointed Personal Rep515 5th Street, N.W., Legal Notices . . . . . . . . . . . . . . . . 42 resentative of the estate Building A, 3rd Floor, of Marcea C. Austin Music/Music Row .Washington, . . . . . . . .D.C. . . . . 42 who died on September 20001, on or before Petswith . . a . Will . . . . . . . . 5/29/2019. . . . . . . . . Claims . . . . . 42 17, 2018, and will serve without against the decedent Real Estate . . . . . . . . . . . . . . . . . . 42 Court Supervision. All shall be presented to unknown heirs and heirs a Shared Housing . the . . .undersigned . . . . . . . . with . . 42 whose whereabouts are copy to the Register of Services . . . . . . . . Wills . . . .or . .to . the . . .Register . . . 42 unknown shall enter their appearance in this of Wills with a copy to proceeding. Objections the undersigned, on or to such appointment before 5/29/2019, or be shall be filed with the forever barred. Persons Register of Wills, D.C., believed to be heirs or 515 5th Street, N.W., legatees of the decedent Building A, 3rd Floor, who do not receive a Washington, D.C. copy of this notice by 20001, on or before mail within 25 days of 5/29/2019. Claims its publication shall so against the decedent inform the Register of shall be presented to Wills, including name, the undersigned with a address and relationcopy to the Register of ship.

Wills or to the Register Date of first publication: of Wills with a copy to 11/22/2018 the undersigned, on or Name of Newspaper before 5/29/2019, or be and/or periodical: forever barred. Persons Washington City Paper/ believed to be heirs or Daily Washington Law legatees of the decedent Reporter who do not receive a Name of Person Reprecopy of this notice by sentative: Tiffany Austin mail within 25 days of Liston its publication shall so TRUE TEST copy inform the Register of Anne Meister Wills, including name, Register of Wills address and relationPub Dates: November ship.

22, December 6, 13.

Date of first publication: 11/29/2018 DC INTERNATIONAL Name of Newspaper SCHOOL and/or periodical: REQUEST FOR PROPOSWashington City Paper/ ALS Daily Washington Law Financial Advisory Reporter Services Name of Person RepreRFP for Financial Adsentative: Sharon Peek visory Services: DCI Lewis invites written proposals TRUE TEST copy from qualified firms Anne Meister interested in providRegister of Wills ing financial advisory Pub Dates: November services to DCI relative 29, December 6, 13. to the refinancing of approximately $60MM SUPERIOR COURT in construction/mini OF THE DISTRICT OF permanent debt relative COLUMBIA to our facility. Please PROBATE DIVISION contact rfp@dcinterna2018 ADM 1237 tionalschool.org for the Name of Decedent, complete RFP. Proposals Ralph Austin, a/k/a, must be received no Ralph E. Austin, Jr. later than the close of Name and Address of business Friday, NovemAttorney Paul F. Riekhof, ber 30, 2018.

Esquire, 111 Rockville Student Local Trip Pike, Suite 975, RockTransportation ville, Maryland 20850.

RFP for Student Local Notice of Appointment, Trip Transportation: DCI Notice to Creditors and is seeking competitive Notice to Unknown bids for local student Heirs, Tiffany Austin trip transportation Liston, whose address options. DCI is looking is 6015 Independence for a vendor who can

Contents:

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provide bussing for Phone student field Adult trips and Entertainment sports game transport. Please email your Livelinks chat proposal- Chat and Lines. any Flirt, quesand date! tions toTalk to sexy real singles in your area. Call now! (844) rfp@dcinternation359-5773 alschool.org. Proposals must be received no Legals later than the close of businessISFriday, NovemNOTICE HEREBY GIVEN ber THAT:30, 2018.

Substitute Teacher INC. TRAVISA OUTSOURCING, (DISTRICT OF COLUMBIA DEProviders PARTMENT OF CONSUMER RFP for Substitute AND REGULATORY Teacher Providers:AFFAIRS DCI FILE NUMBER 271941) HAS is seeking competitive DISSOLVED EFFECTIVE NOVEMbids for on-call teacher BER 27, 2017 AND HAS FILED substitute ARTICLES OF providers.

DISSOLUTION OF DCI is looking for a CORDOMESTIC FOR-PROFIT vendor PORATIONwho WITHcan THEprovide DISTRICT on call substitute teachOF COLUMBIA CORPORATIONS DIVISION ers to fill as needed vacancies. Please email Ayour CLAIM AGAINST proposal and TRAVISA any OUTSOURCING, questions to INC. MUST INCLUDE THE NAME OF THE rfp@dcinternationDISSOLVED CORPORATION, alschool.org.

Proposals INCLUDE THE NAME OF THE must be received no CLAIMANT, INCLUDE A SUMMAlater the close of RY OF than THE FACTS SUPPORTING business NovemTHE CLAIM, Friday, AND BE MAILED TO 1600 30, INTERNATIONAL DRIVE, ber 2018.

SUITE 600, MCLEAN, VA 22102 SUPERIOR COURT ALL CLAIMS WILL BE BARRED OF THE DISTRICT OF UNLESS A PROCEEDING TO COLUMBIA ENFORCE THE CLAIM IS COMPROBATE DIVISION MENCED WITH IN 3 YEARS OF 2018 ADM 1299 PUBLICATION OF THIS NOTICE Name of Decedent, IN ACCORDANCE WITH SECTION Jay Austin.

Notice of OF 29-312.07 OF THE DISTRICT Appointment, Notice to COLUMBIA ORGANIZATIONS ACT. Creditors and Notice to Unknown Two Rivers Heirs, PCS isJordan soliciting Benigno, ad- manproposals to whose provide project dress 500 Pullin Rd,conagementisservices for a small McDonouh, struction project.GA For 30253 a copy of the RFP, please email procurement@ was appointed Personal tworiverspcs.org. Deadline Representative of the for submissions is December 2017. estate of Jay Austin6,who died on July 29, 2018, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or be-

38 november 30, 2018 washingtoncitypaper.com

fore 5/29/2019. Claims Legals against the decedent shall be presented to DC SCHOLARS PCS REQUEST the undersigned with a FOR PROPOSALS – Moducopy to the Register of lar Contractor Services - DC Wills or Public to theCharter Register Scholars School of Wills with a for copy to solicits proposals a modular the undersigned, on or contractor to provide professional before 5/29/2019, or be management and construction services tobarred. constructPersons a modular forever building to house four classrooms believed to be heirs or and one faculty offi ce suite. The legatees of the decedent Request who do for not Proposals receive a(RFP) specifi cations can be obtained on copy of this notice by and after Monday, November 27, mail from within days 2017 Emily25Stone viaof comits publication shall so munityschools@dcscholars.org. inform the Register of All questions should be sent in Wills, including writing by e-mail. Noname, phone calls regarding this will be acaddress andRFP relationcepted. Bids must be received by ship.

5:00 PM Thursday, December Date ofonfirst publication: 14, 2017 at DC Scholars Public 11/29/2018 Charter School, ATTN: Sharonda Name of Newspaper Mann, 5601 E. Capitol St. SE, and/or periodical: Washington, DC 20019. Any bids Washington City Paper/ not addressing all areas as outDaily Law will lined in Washington the RFP specifi cations Reporter not be considered.

Name of Person Representative: Jay Austin Apartments for Rent TRUE TEST copy Anne Meister Register of Wills Pub Dates: November 29, December 6, 13.

KIPP DC PUBLIC CHARTER SCHOOLS REQUEST FOR PROPOSALS Must see! Spacious semi-furFull-Service Catering nished 1 BR/1 BA basement apt, Deanwood, $1200. Sep. enKIPP DC is soliciting trance, W/W carpet, W/D, kitchproposals from qualified en, fireplace near Blue Line/X9/ vendors for Full-Service V2/V4. Shawnn 240-343-7173.

Catering. The RFP can be found on KIPP DC’s Rooms for Rent website at www.kippdc.org/procurement.

Holiday Special- Two furProposals beor long nished roomsshould for short uploaded to the term rental ($900 andwebsite $800 per no laterwith than 5:00toPMW/D, month) access WiFi, Kitchen, and Den. EST, on January 14, Utilities included.

Best N.E. location 2019.

Questions can be along H St. Corridor.

Call Eddie addressed to events@ 202-744-9811 for info. or visit kippdc.org. www.TheCurryEstate.com Full-Service Production KIPP DC is soliciting proposals from qualified vendors for Full-Service Production. The RFP can be found on KIPP DC’s

website at www.kipConstruction/Labor pdc.org/procurement.

Proposals should be uploaded to the website no later than 5:00 PM EST, on January 14, 2019. Questions can be addressed to events@ POWER DESIGN NOW HIRkippdc.org.

ING ELECTRICAL APPRENTICES OF ALL SKILL LEVELS! SUPERIOR COURT OF THE DISTRICT OF about the position…

COLUMBIA Do you love working with PROBATE DIVISION your hands? Are you inter2018 1279 ested ADM in construction and Name of Decedent, Shirin becoming an electrician? ley M. James.

Notice of Then the electrical apprentice Appointment, position could beNotice perfect to for Creditors and Notice to you! Electrical apprentices are able toHeirs, earn a paycheck Unknown Andre and full benefi ts while learnOrlando Fox, whose ing the trade through address is 200 LunafirsthandDrive, experience.

Park #410, Alex-

eandria, VA 22305 was what we’re looking for… appointed Personal Motivated D.C. residentsRepwho resentative estate want to learnofthethe electrical oftrade Shirley M. James who and have a high school died on September diploma or GED as well30, as reliablewithout transportation.

2018, a Will and will serve without a little Supervision. bit about us… All Court Power Design is one the unknown heirs andofheirs top electrical contractors in whose whereabouts are the U.S., committed to our unknown shall enter values, to training and to givtheir appearance in this ing back to the communities proceeding. in which we liveObjections and work. to such appointment morebe details… shall filed with the Visit powerdesigninc.us/ Register of Wills, D.C., careers or email N.W., careers@ 515 5th Street, powerdesigninc.us!

Building A, 3rd Floor, Washington, D.C. 20001, on or before 5/15/2019.

Claims Financial Services against the decedent DeniedbeCredit??

Workto to Reshall presented pair Credit Reportwith With aThe the Your undersigned Trustedto Leader in Credit Repair. copy the Register of Call LawRegister for a FREE WillsLexington or to the credit report summary & credit of Wills with a copy to repair consultation. 855-620the on or at 9426.undersigned, John C. Heath, Attorney before 5/15/2019, or be Law, PLLC, dba Lexington Law forever barred.

Persons Firm. believed to be heirs or legatees of the decedent Home Services who do not receive a copy of this notice by Dish within Network-Satellite Telemail 25 days of vision Services. Now Over 190 its publication shall so channels for ONLY $49.99/mo! inform HBO-FREEthe forRegister one year, ofFREE Wills, including Installation, FREE name, Streaming, address and relationFREE HD. Add Internet for $14.95 aship. month. 1-800-373-6508 Date of first publication:

11/15/2018 Auctions Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter Name of Person Representative: Andre Orlando Fox TRUE TEST copy Anne Meister Register of Wills Pub Dates: Whole FoodsNovember Commissary Auction 15, 22, 29.

DC Metro Area Dec. 5 at 10:30AM SUPERIOR COURT 1000s Tables, Carts OF THES/S DISTRICT OF & Trays, 2016 Kettles up COLUMBIA to 200 Gallons, Urschel PROBATE Cutters &DIVISION Shredders in2018 ADM 1289 Name cluding 2016 Diversacut of2110 Decedent,Hope Dicer, 6 Chill/Freeze Yvonne Pridgen.

Cabs, Double RackNotice Ovens Ranges, (12) Braising of&Appointment, Notice 2016 and (3+) Stephan toTables, Creditors Notice 30+ toVCMs, Unknown Heirs,Scales, MarHobart 80 qt Mixers, guerite Elena Pridgen, Complete Machine Shop, whose address is 3841 and much more! View the Newark Street, NW Unit catalog at E-455, Washington, DC www.mdavisgroup.com or 20016 was appointed 412-521-5751 Personal Representative of the estate ofHope Garage/Yard/ Yvonne Pridgen who Rummage/Estate died on 9-28-2018,Sales with a Will Market and willevery serveFri-Sat Flea without Court 10am-4pm.

5615 SuperviLandover Rd. sion.

AllMD. unknown heirs Cheverly, 20784. Can buy and heirs whose wherein bulk.

Contact 202-355-2068 abouts are unknown or 301-772-3341 for details or if intrested in being a vendor. shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 5/15/2019. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 5/15/2019, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so

inform the Register of Miscellaneous Wills, including name, address and relationNEW COOPERATIVE ship.

Date of firstSHOP! publication: 11/15/2018 FROM EGPYT THINGS Name of Newspaper AND BEYOND and/or periodical: 240-725-6025 Washington City Paper/ www.thingsfromegypt.com Daily Washington Law thingsfromegypt@yahoo.com Reporter Name PersonBAZAAR RepreSOUTH of AFRICAN Craft Cooperative sentative: Marguerite 202-341-0209 Elena Pridgen www.southafricanbazaarcraftcoo TRUE TEST copy perative.com Anne Meister southafricanba z a ar @hotmail.

Register of Wills com Pub Dates: November 15, 22, 29.WOODWORKS WEST FARM Custom Creative Furniture SprintCom, 202-316-3372 Inc. info@westfarmwoodworks.com (SPRINT) proposes to www.westfarmwoodworks.com install/upgrade equipment and antennas at 7002 Carroll Avenue the following structures Takoma Park, MD 20912 in Montgomery County, Mon-Sat 11am-7pm, Maryland: 1 Halterman Sun 10am-6pm Rd in Latonsville (Job #41432) and 14800 Motorcycles/Scooters Schaefer Rd in Germantown (Job #42230).

2016 Suzuki TU250X for sale.

1200 miles. CLEAN. Just serviced.

Comes withwith bike cover In accordance and Asking $3000 the saddlebags.

National Historic Cash only.

Preservation Act of Call 202-417-1870 M-F between 1966 and the 2005 Na6-9PM, or weekends. tionwide Programmatic Agreement, SPRINT is Bands/DJs for Hire hereby notifying the public of the proposed undertaking and soliciting comments on Historic Properties which may be affected by the proposed undertaking. If you would like to provide specific information regarding Get Wit It Productions: Profespotential effects that the sional sound undertaking and lighting availproposed able for club, corporate, private, might have to properties wedding receptions, that are listed on orholiday events and much more. Insured, eligible listing in the competitivefor rates.

Call (866) 531National of His6612 Ext 1, Register leave message for a toric Places and or located ten-minute call back, book onwithin 1/2 mile of the line at: agetwititproductions.com site, please submit the comments (with project Announcements number) to: RAMAKER, Contractor for SPRINT, Announcements - Hey, all you lovers of erotic and 855 Community Dr, bizarre romantic fi ction!

Visit www.

Sauk City, WI 53583 or nightlightproductions.club via e-mail to history@and submit your storieswithin to me Happy ramaker.com 30 Holidays! James K. West days of this notice. wpermanentwink@aol.com

Events Christmas in Silver Spring POTOMAC RIVERSaturday, 2, 2017 FRONTDecember PARADISE Veteran’s Plaza home for sale asap!

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Bedrooms, and crafts for 5 kids, pictures with Santa, music and in-law entertainment 3.5 Baths, to spreadOnly holiday cheer and more. suite. $325K and Proceeds the DON’T market will open to from offers. provide a “wish” toy for children MISS OUT ON THIS in need. Join us at your one stop AMAZING OPPORTUshop for everything Christmas.

NITY! Realtor contact Kari For moreCall: information, Shank: Futsum, 240.291.2059 https://bit.ly/2BmWtWg info@leadersinstitutemd.org or call 301-655-9679 Leasing has comGeneral menced on 1300 H Street NE, Washington Looking to Rent yard space for DC 20002. hunting dogs. Alexandria/Arlington, VA area only. Medium sized Contact info dogs will be well-maintained in thebaldwindc@ temperature controled dog housfariamanagement.com, es. I have advanced animal care 202.848.4983. experience and dogs will be rid free of feces, flies, urine and oder.

Dogs will be in a ventilated The Baldwin is an kennel so they will nothousbe exposed to winaffordable ter and harsh weatherwith etc. Space ing community will be needed as soon asand possiincome guidelines ble.

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By Brendan Emmett Quigley

Across

1 Jazz singer Marlena 5 Serious contender 11 The Neighborhood channel 14 One saving the day 15 Tribe in the First Nations 16 Back-rub response 17 Spirit 18 "I'm outta here" 20 Gently tease 21 Reindeer's coat?

22 Fancy boats 23 Reduces to mush 25 Thriller author Dekker 28 Citi Field pro 29 Musical based on Green Day songs 32 Price fig.?

33 Stampede 34 War god 35 Historian Preston 37 Wounded in the bullring 39 Capt.'s deck aide 40 Fall in with

44 Unicorn's debut, briefly 45 Erythrocytes, more commonly 49 Actor/director Vincent 51 Musician's skill 52 R-rated 53 Galaxy missives 55 Palindromic relative 57 Award for Emma Thompson 58 Robin Hood's buddy, and a hint to this puzzle's theme 61 German automaker 62 Small bill 63 Spotted wildcat 64 Apothecary item 65 Married 66 "I haven't heard anything" 67 Mindhunter actress Torv

Down

1 Mountain guide 2 It can raise your voice 3 Suitable for farming 4 Came out on top

5 Quantum physics pioneer Niels 6 Worked up 7 Some appliances 8 Code sound 9 Singer/reality TV star Aubrey 10 Dan Fogelman's musical comedy fairy tale series 11 Sweater material 12 Like fish sticks and chickenfried steak

13 Some ginger ales 19 Unfriendly 21 Like kimchi 24 Image handler 26 School address part 27 Insult 30 Fox News personality Owens 31 "Puh-lease!"

34 Packing a piece 35 "Feel-good" neurotransmitter 36 Cut off 38 Seal eaters 39 The Hurt Locker director 41 Poem said with a lyre, perhaps 42 Thunder grp.

43 Nightclub entertainment 45 Antiperspirant type 46 Group together 47 Flannel catalog company 48 Belgian beer, for short 50 ___ AF (extremely awesome) 54 Like Rioja wine 56 Chief takeaways: Abbr.

59 Comedian Kirkman 60 FC Barcelona cheer 61 Oologists' studies

LAST WEEK: FRIENDSGIVING 0 2 7 , * 5 , 6 6 $ / $ : $ 1 , 7 1 , * + 2 1 ( $ $ 5 7

2 / ' + $ 7

8 3 7 5 $ , 7 + ( 1 5 , ( 1 < $ 0 0 ( + ( 6 ( * 2 ' ( :

1 3 5 < 5 , ( 2 2 3 6 6 6 , $ 0 5 . ( ( $ 1 6 6 7 6 3 $ 5 , & 7 / 2 $ / 6

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6 $ 5 1 ( ( 0 , $ / ) 7 . , & 6 + $ 7 % 6 . ( ( ' 0 $ 1 5 1 ( ( $ * 6 1 2

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