Washington City Paper (December 1, 2017)

CITYPAPER Washington

Free Volume 37, No. 48 WAshiNgtoNCityPAPer.Com DeC. 1–7, 2017

district line: DeCrimiNAliziNg sex Work 8 food: restAurAteurs’ broADer offeriNgs 16 arts: girls Who broke CoDes 27

The Grade Unknown D.C. charter schools prize their autonomy.

But does it come at the cost of public accountability? P. 12

By Rachel M. Cohen

Photographs by Darrow Montgomery

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INSIDE

12 The Grade Unknown

PRESENTS PRESENTS PRESENTS

D.C. charter schools prize their autonomy. But does it come at the cost of public accountability?

By Rachel M. Cohen

Photographs by Darrow Montgomery

4 Chatter DistriCt Line 7 Loose Lips: Current and former members of the D.C. Democratic State Committee bemoan the state of the party.

8 Bodies of Evidence: Advocates have long argued that decriminalizing prostitution would allow sex workers to legally reclaim their bodies. Some lawmakers are warming up to the idea.

10 Savage Love

fooD 16 Spinning Plates: As D.C. restaurateurs diversify their brands, you can find their food at malls, markets, airports, and beyond.

18 Spice of Life: Breaking down Dublin’s signature late-night dish 18 The Veg Diner Monologues: Smoke and Barrel’s Vegan Shrimp 18 Top of the Hour: Cuba Libre’s discounted drinks and Caribbean snacks

arts 27 The Code War: For her new book, local author and journalist Liza Mundy helped to declassify hundreds of World War II documents detailing the women code breakers secretly recruited to join the war effort.

29 Curtain Calls: Ritzel on Signature Theatre’s Crazy for You and Klimek on Shakespeare Theatre Company’s Twelfth Night.

30 Galleries: Cudlin on Magnetic Fields: Expanding American Abstraction, 1960s to Today at the National Museum of Women in the Arts 32 Short Subjects: Zilberman on The Disaster Artist

City List 35 City Lights: Hear late-night host Samantha Bee discuss all manner of things at the Kennedy Center Friday.

35 Music 38 Theater 41 Film

Diversions

41 Crossword

42 CLassifieDs

Written by Written by

PETER GWINN PETER GWINN & BOBBY MORT & BOBBY MORT

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CHATTER

Letter from London

In which your editor finds a bookstore

Darrow MontgoMery

A bookshop in London sells books not available on the shelves of American bookstores. Persephone Books is a tiny shop on Lamb’s Conduit Street, blocks from a pub called The Lamb where Charles Dickens once drank beer.

The lives and habits of the authors at Persephone are less known than Dickens’, but their books are not lesser. Persephone, publisher and bookseller, finds out-of-print books that are worthy of resurrection decades after the last bound version left the printer. The shopkeepers call one author, Amy Levy, the Jewish Jane Austen. The 1938 novel Miss Pettigrew Lives for a Day by Winifred Watson became a movie theater hit starring Frances McDormand and Amy Adams after Persephone picked it up and published it again.

I found Persephone Books over Thanksgiving weekend while in London for the wedding of a cousin-in-law. All the books are bound in the same pale gray, but each has a different pattern lining the inside cover— tapestries and hand-painted wallpaper. Each book comes with a bookmark in the same pattern. The shop is so small that it’s hard to move around when more than four customers are inside.

The shopkeeper told me that their main criterion for choosing which books to republish is whether each one is a good read. (I can tell you, they are.) She said that the books went out of print for a number of reasons.

The authors may have been overlooked or not gotten sufficient publicity. She said that in some cases the warehouses storing the book stocks were destroyed in war, and the original publishers never recovered. (She also let me use the shop’s employee bathroom, where I found boxes of books and teacups stacked high. The stacks of books were everywhere in the shop.)

Persephone is like a slice of my personal heaven, but I’d never heard of it. It’s been around for nearly 20 years. I went back to the store two more times in two days. Most of the authors are dead, but a few have lived to see their work make it into reader’s hands again.

—Alexa Mills

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STORM LARGE: HOLIDAY ORDEAL SAT, DEC 9, 8pm SIXTH & I

The holidays get hot and bothered as singer Storm Large lights up Sixth & I with her commanding voice and bawdy humor.

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DistrictLine Party Poopers Current and former members of the D.C. Democratic State Committee bemoan the state of the party.

Darrow Montgomery/File

Anita Bonds

By Jeffrey Anderson A recurring theme within the D.C. Democratic Party is the dissatisfaction of current and former State Committee members about the way the party is run. And because she is an entrenched party chair in an election year, At-Large Councilmember Anita Bonds bears the brunt of the criticism.

Over the last six years, committee members have accused Bonds, whose Council seat is up for reelection, of making unilateral decisions that affect the committee as a whole and of leaving them in the dark until after she has made them. The disgruntlement starts with basic lapses such as a dysfunctional website and lack of proper meeting notices, and extends to gripes about the party’s core functions and principles.

In 2011, Bonds ended a longstanding tradition of having Democrats vote on committee members at their respective polling places for the primary, and instead decided to hold a convention in the auditorium at the University of District of Columbia, but with no opportunity to cast absentee ballots, leaving some party members disenfranchised in the selection

loose lips

of their leaders.

The following year, an out-of-date but stillfunctioning committee website misinformed party members of the location for the caucus to select delegates to the DNC convention, while a newer version failed to specify any location at all, confusing committee members and party members alike.

Just last year, the committee failed to include Sen. Bernie Sanders’ name on the primary ballot for the presidential election.

Though the committee was able to scramble to get Sanders’ name on the ballot, the screwup signaled a level of dysfunction that has been apparent to anyone who has visited the D.C. Democratic Party’s website recently.

Months ago, Loose Lips was surprised when a person answered a call to the committee’s office number listed on its website and said, in English, that he did not speak English, and then abruptly hung up. Turns out the website listed the wrong number. Repeat visits to the website just last week showed an out-ofdate list of committee members and links to a constitution and bylaws that have not been amended since 2014.

In an interview last week, Bonds blamed a disagreement with the former webmaster for the website dysfunction, and said that the

committee has been working on a new site for a month and a half. (Since that conversation, the website has been taken down. Visitors to http:// www.dcdemocraticparty.org are informed that the site is “under construction,” and that the next general membership meeting is December 7th, in Room 120 of the Wilson Building.)

Party organization and communication goes hand-in-hand with inclusiveness for committee member Walter DeLeon, president of the College Democrats, an affiliated organization that gets an automatic seat on the committee.

“It’s an organizational disaster, just a mess,” says DeLeon, who was not listed on the committee’s website before it went down for construction, and was not notified when he was due to be seated. “I had to find out from the Latino Caucus about my own swearing in.”

Former 19-year committee member John Capozzi says the committee also does a bad job of informing members of meeting agendas, bylaws changes, and specific functions such as developing a plan for getting committee candidates on the June primary ballot. Indeed, last week the website contained no information related to 2018. “It’s no wonder Democrats don’t understand what the committee does, how it functions, or why they need to be involved,” Capozzi says.

Veteran committee members say Capozzi and fellow detractors are upset because they have not been successful in taking over the party with their own slate. Capozzi counters that Bonds has added affiliated organizations (and thereby new committee members) over the years to dilute potential opposition and preserve her control over the party, which dates to 2006.

More disconcerting, he says, is that the committee has become complacent and ineffective, and fails to take stands on issues facing D.C. residents. “There’s a lack of communication with anyone who cares about the Democratic Party, no transparency over the inner workings of the committee and how decisions are made, and no clear explanation of what we stand for. I can’t find evidence that we’ve taken stands on anything,” says Capozzi.

DeLeon agrees. “I think the D.C. Democrats are dropping the ball,” he says. “We are not reaching out to new people, we are not registering new voters. Members are disappointed because of lack of involvement, outreach, and engagement.”

Committee member Markus Batchelor tells LL that internal politics and structural defects are preventing the party from being a more influential force in local politics. “I believe the party has a critical role to play in the civic life of our city,” says Batchelor. “Voter registration, education, and mobilization

are things the party should and must do better.” He likens city politics to the Wild West, where candidates and elected officials operate without guidance or a unified party voice.

This, he says, is particularly acute as the city skews younger and upstart candidates seek to get involved. “With no party structure to hold Democratic candidates accountable to those principles that make the party a force for good, there’s no grooming of the next generation of political leadership at the community level.”

Committee member James Bubar agrees that the committee should meet more often and do more outreach in non-presidential election years and work harder to get new residents involved with the party. But the committee thrives during presidential election years, says Bubar, co-chair of the Standing Committee on Statehood and Self-Determination, and its members work hard with a common purpose. They travel on their own dime to meet with other state committees to promote Democratic causes, he says, and are successful getting Democrats elected in other states. “Our resolution in support of statehood was adopted by every caucus and region of the National Democratic Party,” he adds. “I consider that effective.”

When asked whether Bonds is an effective committee chair, however, Bubar has little to say: “Anita has been chair for a long, long time, and has taken us through three Democratic conventions, so … she’s our chair.”

In her own defense, Bonds says the party has been very active in getting Democrats engaged not just in D.C., which has 385,000 registered Democratic voters, but in Maryland and Virginia as well. “During the presidential election we did more calls and had more volunteers than any other jurisdiction in the country, including California,” she says.

As for dissension in the ranks, Bonds says once the local party has chosen candidates for the general election, the committee will get more involved. Until then, she says, “We meet the first Thursday in December, and we have a schedule of meetings through 2018. We’ll also have an executive meeting in January to present [committee] candidates to the full membership. That’s the way we have done it since I’ve been here. I didn’t create this organization.

I was elected, and I’m following the bylaws.”

Meantime, Natasha McKenzie, the committee’s executive director, bristles at any suggestion that the party lacks focus or inclusiveness: “The District of Columbia Democratic Party is committed to a fair and transparent primary process. Any allegations that suggest otherwise are simply untrue. We’re focused on electing Democrats up and down the ticket across the District, and we’re more energized and motivated than ever before.” CP

washingtoncitypaper.com december 1, 2017 7

DistrictLinE

Bodies of Evidence

Advocates have long argued that decriminalizing prostitution would allow sex workers to legally reclaim their bodies. Some lawmakers are warming up to the idea.

Darrow Montgomery/File

dentally, that figure is the same as the number of college women who report sexual abuse while at a fouryear school.)

But only about 10 percent of sex workers who report police abuse ever pursue litigation against the officers.

Exacerbating the standard anxiety that survivors of abuse feel when filing a criminal complaint against a perpetrator is the worry that their claims won’t hold up in court. In nearly every state, it is legal, if not outright encouraged, for undercover police officers conducting prostitution stings to touch sex workers. Departments argue that making physical contact with sex workers is the only effective way to collect evidence of a prostitutionrelated offense.

Director of the sex work advocacy and resource center HIPS, Cyndee Clay, calls this physical contact “common practice,” and notes that it happens “especially in indoor locations like brothels and massage parlors.”

She says that at least two sex workers have reported outright assault perpetrated by police officers, or those posing as police, at HIPS annually for the Woman arrested for last nine years. prostitution at a D.C. Former sex worker and decrimpolice station in 1998 inalization advocate Norma Jean Almodovar has famously referred to this as “raping to rescue.” about how to prevent it have only recently beUntil April, for example, it was legal for pogun. “Who do [sex workers] turn to?” he asks. lice officers to engage in penetrative sex with “Often, in the past, if they turned to the po- erotic service providers in Michigan. In Anlice, they were not given the kind of support chorage, Alaska, police officers are embroiled they needed.” in a furious, protracted public debate about That understatement is at the heart of Gros- the morality of fondling sex workers for eviso’s effort to attempt what no jurisdiction out- dence-gathering purposes. In one case, the poside of Nevada has managed: remove crimi- lice chief there referred to this sexual contact nal penalties for buying and selling sex. It is as their “right.” perhaps the city’s most robust and public efMaxine Doogan, a longtime champion fort in recent history to introduce legal safe- of decriminalization, runs the Erotic Service guards for sex workers who say they’ve been Providers Legal Education Project, which assaulted by police officers. filed a lawsuit against California’s attorney While there exists very little concrete data general in March over the state’s prostituthat fully capture how pervasive claims of tion laws. She argues that the policy world sexual abuse against sex workers are across exhibits a profound hypocrisy, empathizing the country, certain reports scratch the sur- with survivors of sex trafficking while abanface: New York’s Urban Justice Project says doning sex workers who have been assaultthat nearly one in five sex workers report ed by pimps or police officers: Those who ensexual harassment and abuse—including gage in commercial sex against their will are rape—at the hands of police officers. (Inci- considered “victims,” she says, but sex work-

By Morgan Baskin Ask neArly Any professional whose work deals with the wide orbit of commercial sex— lawmakers, psychologists, public health advocates, lawyers, policy advisers—whether sex workers routinely experience abuse by police officers, and you’ll usually get an emphatic yes.

Their stories illustrate how sex is leveraged for power: how some uniformed officers coerce sex workers into performing fellatio in exchange for a clean record, how some undercover officers grope women arrested on prostitution-related charges in undercover stings.

There was Larry Seay, a D.C. police officer charged in 2011 with sexually assaulting a prostitute after threatening to arrest her while on duty. And Kenneth Furr, another D.C. cop, convicted in 2012 of assault with a dead-

ly weapon after firing a gun at a transgender woman who refused to have sex with him in exchange for money.

D.C.’s At-Large Councilmember David Grosso notes: “I mean, if you just [browse] past news stories, you certainly know about the cases of transgender sex workers” who have been assaulted by D.C.-area officers. For myriad reasons, they rarely make it to court.

Reporter Stephanie Mencimer detailed a horrifying spate of these assaults committed against sex workers for City Paper almost two decades ago. As many as 40 police officers in the District were arrested annually between 1989 and 1994, she reported.

Violence against sex workers is so ubiquitous as to have become chatter in the D.C. Council’s halls. Lawmakers have “heard for years about police engaging in discriminatory violence against sex workers,” Grosso says, though he notes meaningful conversations

8 december 1, 2017 washingtoncitypaper.com

DistrictLinE ers who are “willing participants in prostitution, we’re fair game. [People think] that the criminalization of prostitution makes us public property. That anybody can do anything to us any time they want and get away with it, including the police.”

For the last year and a half, Grosso’s team has collaborated with a coalition of sex worker advocacy organizations based in D.C.—including HIPS, Casa Ruby, the Gay and Lesbian Activists Alliance, the DC Rape Crisis Center, and Amara Legal Center—to draft a bill that focuses on “the human rights of sex workers,” Grosso says, instead of attempting to “criminalize our way out of an issue.”

The comment is a not-so-subtle criticism of the sizeable contingent of lawmakers (in both D.C. and around the country) who have historically treated prostitution as an eyesore. In 1989, a group of D.C. police officers gathered two dozen women stationed along or near 14th Street NW and forced them to walk more than a mile across state lines into Virginia at 1:30 a.m. Legislative “remedies” have been designed to address garden-variety neighborhood complaints, like condoms strewn across sidewalks, instead of the very real and alarming risks associated with engaging in sex work. Ward 2 Councilmember Jack Evans has been a longtime supporter of curbing street-level prostitution by allowing the city to impound vehicles belonging to those soliciting sex.

Not Grosso. His effort, the Reducing Criminalization to Promote Public Safety and Health Amendment Act of 2017, is the culmination of a three-year publicity tour that saw Grosso touting his support for the policy after Amnesty International first embraced decriminalization during the summer of 2015. In addition to removing all criminal penalties for prostitution and sex-related solicitation, Grosso’s bill decriminalizes pandering (loosely defined as the act of helping to facilitate an illegal sexual encounter), and creates a task force of 13 local stakeholders to study the bill’s impact on sex workers, should it become law.

It also grapples with some of D.C. Code’s legal gymnastics, including its prostitution clause, which lumps the crime in with solicitation. In most cases, D.C. police officers will arrest sex workers—particularly trans sex workers—for the solicitation of sex and not prostitution itself, likely because in street-level prostitution cases it’s easier to collect evidence for solicitation. In 2017, 87 percent of prostitution-related arrests have been solicitation charges, per Metropolitan Police Department data. (Arresting suspected prostitutes on charges other than prostitution is a longstanding District tradition; as far back as the mid-19th century, D.C. cops tried to make sex workers less visible by arresting them for larceny, disorderly conduct, or “keeping a bawdy house.”)

In decriminalizing the solicitation of sex, Grosso’s bill could help reduce the number of erroneous or malicious solicitation arrests.

Conversely, it would also remove the legal penalties of buying sex for truly violent customers, a sticking point for organizations like Amara, a law office that provides free legal services for commercial sex workers, whose clients are conflicted about how the city should approach those interested in buying sex.

“There’s no consensus among the people we serve with what we want to have happen to buyers of sex,” Yvette Butler, Amara’s policy director, says. “Essentially Amara’s stance is: [While] we recognize that more engagement with law enforcement is typically bad for our clients, we do want to make sure that more exploitation doesn’t happen.” Because listing solicitation and prostitution under different statutes would involve changing D.C. Code—more bureaucratic legwork than merely passing Grosso’s bill—she says advocates have yet to come to a true consensus about the nuances of decriminalization policy in the city.

Butler also notes that the D.C. Code’s current pandering law can serve as a helpful tool for the U.S. Attorney’s Office, which sometimes relies on it to help bring sex traffickers to justice; when a survivor of sex trafficking is no longer a minor, it’s more difficult to prove that she or he was coerced into performing a sex act. Arresting pimps on a pandering charge is a way to sidestep that hurdle—but Grosso’s bill would eliminate that possibility.

Despite the continued debate among advocates about how to best legislate around buying and facilitating sex, Butler says Grosso’s bill has proven unifying: “Almost all” of the advocacy organizations Amara has consulted with back the effort to decriminalize the selling of sex, likely because, despite the handful of cases in which the criminalization of commercial sex acts is useful to prosecutors, the current laws harm exponentially more people than they help.

Butler, who joined Amara full time last year and mainly works with those filing claims in Virginia, says she has three clients who have shared stories of abuse at the hands of officers working in that state—and each of Amara’s staff lawyers has their own list of clients who have made similar claims against police officers in D.C. and Maryland.

“It’s definitely not just a one-jurisdiction issue. It happens in all three jurisdictions,” she says, though it’s hard for her to put a number on how many other similar claims she’s aware of. “I just know that I hear it more than I would like to hear it.”

Grosso’s bill has been referred to the judiciary committee, headed by Ward 6 Councilmember Charles Allen. Its supporters are hoping it won’t languish there.

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SAVAGELOVE I’m a straight man in a live-in relationship with a beautiful woman. There are no sparks in bed, and it’s been more than a year since we’ve had sex. She says, “I’m sorry, but I’m just not interested.” Sometimes she asks me if I’m disappointed, and I say something like “I miss sex.” And she says: “Maybe someday. But the important thing is we love each other, right?” Before my last birthday, she asked me what I wanted as a gift. I replied, “A soapy handjob.” That would’ve been the most action I’d had all year. But when my birthday rolled around, all I got was a speech about how she loved me but was not in love with me. My question: In the year 2017, how does a straight man make it clear to the woman he’s with that sex is important to him without coming across as threatening? If I told her I’d leave her unless our sex life improved—and I have certainly thought about this—she’d probably “put out” to save our relationship. She has abandonment issues, and I fear she would be devastated if I left her. I only want to have sex with someone who wants to have sex with me, not someone I’ve coerced. What do I do? I love her, but a sexless relationship isn’t what I want or signed up for.

—Sexless Over A Perplexing Year

There’s being sensitive to coming across as threatening and wanting to avoid even unintentional coercion and being cognizant of the ways women are socialized to defer to men and the ways men are socialized to feel entitled to women’s bodies, SOAPY, and then there’s being a fucking doormat. She isn’t in love with you—she told you so herself—and she’s never gonna fuck you or soap you up to get you off. If you don’t want her putting out to keep you—if you don’t want her to fuck you under duress— then don’t give her the option. That means ending the relationship, SOAPY, not entering into negotiations about the terms for remaining in the relationship. (“1. Tell me you’re in love with me, even if it’s a lie. 2. A sad, soapy handjob once a year on my birthday…”)

There’s nothing unreasonable about wanting a romantic relationship that’s both loving and fully sexual, SOAPY, and a man can put his wants on the table without pounding said table with his dick. Your girlfriend’s issue may be a mystery— maybe it’s her (she’s incapable of being in a loving and fully sexual relationship), maybe it’s you (you never turned her on or you did something that murdered her libido)—but you’re not obligated to stay in an unsatisfactory relationship indefinitely because your girlfriend will be devastated if you leave.

Also, devastation is a two-way street. If you dump her, SOAPY, her devastation will be immediate, like the impact of an earthquake or a hurricane. But if you stay, you’ll be the one devastated—but your devastation will be gradual, taking years, like the erosion of coastline or the destruction of our democracy. The destruction of your 10 december 1, 2017 washingtoncitypaper.com

self-esteem and sense of sexual self-worth could take a decade or more, SOAPY, but it is already under way. She’s a lot likelier to get over the devastation she’ll feel if you leave—being dumped is a common experience that most people bounce back from—than you are to get over the devastation you’ll experience if you stay.

Your gonads/self-respect/preservation instincts are in that apartment somewhere. Get ’em and go.

—Dan Savage

She isn’t in love with you— she told you so herself—and she’s never gonna fuck you or soap you up to get you off.

A man impregnated me about a month into our relationship. He is adamantly against having the kid, as it’s too soon. I really don’t want to have an abortion—I have religious and moral beliefs against it. He states that since one parent doesn’t want the kid, I am wrong for even considering keeping it. Am I wrong? We’re both around 30, and this is my first pregnancy. Do I have the right to continue with the pregnancy? I feel like we’d be great parents. He’s already left me because I wouldn’t make a decision within a week. It’s tearing us apart.

—Opposing Opinions On Pregnancy Situation I’m going to sidestep the whole no-abortionsfor-religious-and-moral-reasons-but-premarital-sex-is-not-a-problem issue. This pregnancy isn’t tearing you apart, OOOPS, it tore you apart. He already ended things—he left you— which was a shitty thing to do, perhaps, but within his rights. It is absolutely within your rights to continue with the pregnancy—it’s your body, it’s your decision. And while he will be on the hook for this kid financially if you decide to have it, no one can force him to do the work/experience the joy/clean up the vomit that comes with actually fathering this child. I’m sorry you’re in this position, and here’s hoping you have the love and support you need to raise a kid if you decide to keep the baby, and here’s hoping he comes around.

—DS I am a straight woman who just started fucking a hot, younger male coworker. The sexual tension between us was out of control until we stayed late one night and screwed on my desk. Since that

night, we’ve hooked up a few more times. We grope each other in the office daily, as the “fear” of getting caught is a real turn-on for me. The problem—there always is one—is that he has a live-in girlfriend. He told me they are in an open relationship, so being with me isn’t cheating. As per their arrangement, he won’t tell her about me, but if she finds out, he won’t lie. How do I know if he’s telling me the truth or if he’s saying these things so I’ll keep sleeping with him? She comes to work events with him, and I feel guilty because she is sweet and obviously adores him. Also, being coworkers adds another layer of issues. I am a wellliked employee who people consider very professional. He is new to the company and is a bit of a scatterbrain. The sex is amazing in part because he’s too immature for me to consider romantically. I’d love to keep seeing him for sex, but I don’t want to help him hurt someone else. Can I fuck him guilt free? —Not A Heartbreak Helper P.S. I’ve already caught him in some minor lies.

For instance, he said one of the rules of the open relationship is no sex in their apartment. Guess where we last fucked?

If the genders were reversed here—if you were an older, more powerful man fucking a “hot, younger” female coworker—I’d have to find you and set you on fire or something. Because even before we get to the is-he-or-isn’t-he (in an open relationship) issue, the power imbalance makes this not okay. Or it does to some/ many/most. But I’m going to let those who object to coworkers fucking—unless both are partners in the firm with equal tenure, power, and salaries—debate that issue in the comments thread while I address the issue you asked me to address: Can you know for sure whether he’s practicing ENM, aka “ethical non-monogamy.”

Short answer: No, nope, you can’t—and the signs don’t look good. I was making notes as I read your letter, NAHH, and wrote, “Has he lied to you about anything?” before I got to your postscript. While some couples have DADT agreements—outside sex is allowed, but they “don’t ask, don’t tell”—the DADT thing makes it hard for their thirds (or fourths or fifths) to verify that the relationship is actually open and they aren’t a party to cheating. So you have to trust the person you’re fucking—and if they’ve given you reason not to trust them (like lying about other stuff) and/or demonstrated that they aren’t honoring the other rules of their supposedly open relationship (like fucking in the apartment they share), well, then they’ve demonstrated their fundamental untrustworthiness. Basically, NAHH, if he’s lying to her, he’s probably lying to you, too.

So you can fuck him—but not without guilt.

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

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washingtoncitypaper.com december 1, 2017 11

The Grade Unknown D.C. charter schools prize their autonomy.

But does it come at the cost of public accountability?

By Rachel M. Cohen

12 december 1, 2017 washingtoncitypaper.com

Photographs by Darrow Montgomery

On a MOnday night in late April, the D.C. Public Charter School Board convened for its monthly meeting with plans to vote on new charter school applications. One network, DC Preparatory Academy, submitted two requests for expansion: one to increase their student enrollment ceiling, and one to open a new elementary and middle school campus. Founded in 2003 and already operating five campuses, DC Prep is considered among the highest performing charter networks in the city. It was no surprise when the Charter Board’s staff recommended that the board vote in favor of the school’s proposals.

Yet around three hours into the meeting, when it finally came time to vote, board members started asking DC Prep leaders surprisingly tough questions. Board chairman Darren Woodruff noted that at DC Prep’s elementary campus in Anacostia, the out-of-school suspension rate stood at 6.9 percent, nearly double the charter sector’s average. And DC Prep’s Edgewood middle school campus, he said, had an out-of-school suspension rate of 27.9 percent, up from 18 percent the year before.

For special education students, the suspension rate was dramatically higher—45 percent.

Woodruff was particularly troubled by the kindergarten suspensions. “I am struggling mightily to understand the logic behind suspending out-of-school 5-year-olds,” said Woodruff. “… I have been in education now for over 30 years and I can’t come up with an explanation that makes sense. I would love to hear anyone from your organization justify a 40 percent suspension rate for 5-year-olds who have disabilities. That’s the reason I will not vote for the expansion.”

Three other board members joined Woodruff in voting 4-3 against DC Prep’s expansion requests.

The votes were a huge shock—to charter supporters and critics alike. Critics were impressed the board turned down a well-regarded and well-connected network. Supporters were frustrated with the board for voting based on criteria not laid out in its own Charter Amendment Guidelines, the document governing how approvals would work.

Two months later, at their June monthly meeting, the PCSB board members abruptly reversed their decisions in re-votes as startling as the first. PCSB had given no notice that it would be revisiting DC Prep’s requests for expansion. A board member introduced it as a last-minute agenda amendment at the start of the meeting.

Seven weeks later, D.C.’s Office of Open Government issued a binding opinion that the PCSB had failed to properly notify the public, a violation of the Open Meetings Act and the School Reform Act. The Office lacked the authority to compel a re-vote, but recommended the PCSB avoid similar actions in the future.

Following this, a coalition of parents and advocates asked the PCSB to void its June vote, schedule a new meeting, and allow for com-

munity input. The PCSB stood its ground, saying it “respectfully disagrees” with the Office of Open Government’s conclusions, though it would voluntarily comply with their recommendations going forward.

What spurred the DC Prep vote reversals?

That question, and the fact that it’s proven hard to answer, embodies some of the thorniest public education issues in D.C. The city’s charter sector earns admiration from education reformers across the country, and the PCSB’s work is routinely held up as one of the most rigorous authorizing models in the nation. Autonomy in exchange for academic results has long been considered the grand bargain of the charter movement.

Locally, though, D.C. charters remain controversial. Some residents say the schools operate too much like a black box, and demand greater oversight over the sector—which receives nearly $800 million of taxpayer money per year. Questions have been mounting about the endgame for D.C. charter schools—which educate almost half of the city’s students. How quickly and far will they expand, and who gets to decide?

population DCPS barely educates.)

The PCSB is not exactly an intuitively structured entity. It has a seven-person board appointed by the D.C. mayor and approved by the Council. It also employs about 40 staff members, including an executive director— Scott Pearson—who reports to the board.

The PCSB’s role in the larger D.C. educational ecosystem is also not quite straightforward. Lines of responsibility within that ecosystem are often unclear, with multiple bodies orbiting each other, influencing each other, and sometimes colliding.

For instance, although the city’s Deputy Mayor of Education, Jennifer Niles, is tasked with overseeing public education across the city, the PCSB does not report directly to her.

“I have a ‘dotted line’ relationship with the Deputy Mayor of Education,” explains Pearson, “which means I meet with her usually every week or two and we try to coordinate on things, but she can’t tell me what to do.”

The Council also distributes funds to charters and subjects the PCSB to oversight, though critics contend not enough of that has been ex-

“We’ve known for a long time that monitoring the charter sector was an issue, and I think we had some naiveté that maybe the charter advocacy groups were doing the work, but they weren’t.”

Charter sChOOls are private entities authorized to provide public education, free of many rules and regulations that apply to traditional public schools. In D.C. all charters are nonprofits, though they can hire for-profit companies to run their schools.

The District’s Public Charter School Board hasn’t always been the city’s sole charter authorizer. When Congress amended the School Reform Act in 1996, it established the PCSB as an independent agency of the D.C. government, tasking it with opening and overseeing charter schools. But the D.C. Council also gave the now-defunct D.C. school board the same responsibilities, and for the next decade, the two entities together approved at least 55 charters throughout the capital. In 2006, however, the school board ceased authorizing charters, and the next year was eliminated altogether by the city’s Public Education Reform Amendment Act. This left the PCSB as the only authorizing body.

Today 46 percent of public school students in D.C. attend 120 charter schools operated by 66 nonprofit corporations, each of which constitutes its own separate school district. (Roughly 5,000 of those students are adult learners, a

ercised over the years. “Nobody really likes to rock the boat that much,” as one federal education researcher put it.

In 2015, the National Research Council produced an independent evaluation of D.C.’s school reforms. “Although D.C. has been called a ‘pioneer’ in its adoption of charter schools, how to coordinate them with [DC Public Schools] for the benefit of the city’s students is not evident,” the report concluded. The National Research Council found that lines of supervision and authority were not clearly demarcated among the city’s education agencies, and that the charter sector’s decentralized structure created unique challenges for accountability.

And since D.C.’s charter law was passed by Congress, even the Council’s authority over charters gets contested. In 2014, two charters and the DC Association of Chartered Public Schools sued the city, arguing that the Council was making budgetary decisions that violated the federal School Reform Act. A judge ruled against the charter plaintiffs this past October, but declined to weigh in on the Council’s overall authority. The plaintiffs are now appealing the decision.

a perennial questiOn for D.C’s charter sector is how to sufficiently live up to their name—public charter schools—while also remaining independent and free from the kinds of regulation and red tape that other government agencies deal with on a regular basis.

Many charter leaders say that their ability to bypass the political battles that afflict DCPS and the Council is what allows them to create innovative schools and prioritize the needs of students. Other education advocates look at the charter sector’s hefty budget—which grows larger every year—and ask whether all this autonomy really makes sense.

“I don’t have anything against charter schools, and I think mostly everybody working for charters has good intentions, but what D.C. shows, unambiguously, is that no matter how well-intentioned you are—that’s not adequate for the public’s purposes,” says Valerie Jablow, a DCPS parent.

The 21st Century School Fund, a small civic nonprofit that has long been part of the DCPS watchdog community, recognized that no organization was really taking on similar oversight duties for charters—monitoring things like whether public dollars are being spent directly on students, or if funds are being distributed equitably within and across schools.

“We’ve known for a long time that monitoring the charter sector was an issue, and I think we had some naiveté that maybe the charter advocacy groups were doing the work, but they weren’t,” says Mary Filardo, the group’s executive director.

Many interest groups across D.C organize on behalf of charters, including the D.C. Association of Chartered Public Schools, Friends of Choice in Urban Schools (FOCUS), Education Forward DC, Building Hope, and others. But these advocacy organizations are not considered impartial overseers for the public interest, and most—if not all—would consider monitoring charters’ financial decisions an inappropriate infringement of the schools’ autonomy.

This oversight problem was highlighted in 2013, when D.C.’s attorney general Irvin Nathan sued three former Options Public Charter School leaders for laundering over $3 million into two for-profit companies they owned.

Nathan filed a second suit several months later against the founder of Community Academy Public Charter for allegedly diverting more than $13 million into a shell management company. But both schools had passed the PCSB’s financial inspection, with the charter board concluding that Options and Community Academy had demonstrated “no patterns of fiscal mismanagement.”

The Options lawsuit settled this past September, with its accused leaders agreeing to pay $575,000 to the charter (which is now under new leadership).

The financial scandals caused an uproar.

But some in the charter sector felt giving PCSB more oversight authority over charter school budget books was a bureaucratic slippery slope.

washingtoncitypaper.com december 1, 2017 13

Harmony School of Excellence, a science-themed charter school, is across the street from Langley Elementary, a science-themed public school serving the same grades.

“Allowing the legal process to take care of malfeasance is the proper way to go, as opposed to the charter board imposing more regulation,” Kara Kerwin, president of the Center for Education Reform, told The Washington Post in 2014.

Scott Pearson says the PCSB has since taken steps to tighten its financial monitoring— for instance, the charter board can now look at the books or records of any school. “So we had a school that was effectively shielding oversight from us by taking the money and paying a management company and we couldn’t follow those dollars, but that issue doesn’t exist anymore,” he says. “It was a loophole and it’s resolved.”

Not everyoNe is convinced. Unlike like traditional public schools, charters are not subjected to the Freedom of Information Act. Citizens can use FOIA to get information on the public charter board, but not any of the city’s individual charter schools. (Charters in other states—like New York, Massachusetts, and Connecticut—are subject to FOIA.) “There is no nonprofit in the District of Columbia that receives as much taxpayer money as the charter school sector,” says Martin Welles, an attorney and DCPS parent. “Yet the taxpayer has no meaningful input because the processes are not transparent, and the private charter schools are not accountable to the public.” While the charter sector makes some data publicly available, Welles says “the whole crux of FOIA is to allow individuals to craft their own questions that they want answered.” And because charters are not legally obligated to respond to FOIA requests they receive, Welles argues it has “a chilling effect on inquiries.”

David Grosso, chair of the Council education committee, thinks getting data on schools is “a constant battle,” though one that’s not exclusive to the charter sector. “We are always trying to find ways to get more data out there and make it more transparent,” Grosso says. “But charters and DCPS have competing responsibilities and try to protect data that is sensitive for students, and parents, and schools.”

Arguments against opening charters’ books and internal communications to further public scrutiny involve protecting the sector’s independence. “I’m a political libertarian and I want these charters to be absolutely free, as much as possible, to operate the way they see fit,” says Mark Lerner, a longtime D.C. school choice advocate.

Scott Pearson thinks that because the PCSB is subject to FOIA, D.C. has struck the right balance between public accountability and protecting charter autonomy. “What I’ve argued is that because we’re a strong authorizer and scrutinize the charters’ work so carefully— we read all their [meeting] minutes, we actually attend some of their meetings, and we have the right to look over any book or record—that provides the right balance, while also allowing the school boards to operate in a way that allows them to be most effective,” he says.

Pearson used to be on a charter school board in California, where they were subject to the state’s open meetings law. “It was very difficult to talk about confidential matters and to get people who were willing to join the board,” he says, adding that some charter boards then held (illegal) off-the-record meetings.

In D.C. the charter board has access to anything it wants, and though the public can file

14 december 1, 2017 washingtoncitypaper.com

FOIA requests with the PCSB, the PCSB cannot provide information on charters that it has not already collected. For example, if I want to read emails sent between specific charter school leaders, I can only obtain those records in the (extremely unlikely) event that the PCSB has already obtained them for itself; I could not expect the PCSB to seek them out for me.

Charter advocates are leery of the PCSB collecting too much information, bogging schools down with administrative mandates and bureaucracy.

“The public charter board is the regulator, and all regulators—almost if by nature—will try and put more and more rules in place,” says Lerner, the self-proclaimed libertarian. “But the charter board actually has very little power [given] the way the School Reform Act was written, and these schools are supposed to be independent.”

Irene Holtzman, the executive director of FOCUS, says she spent years working in D.C. school administration, focused on data, compliance, and operations. “My heart is in data, accountability, and research, but satisfying my curiosity is not sufficient to saddle schools with more data collection,” she says. “I think there is a demand for more and more information, but I’m not entirely sure that people have considered the significant opportunity cost of getting that information.”

Holtzman argues that there’s an immense amount of “underutilized” information out there already that she’d like to see people take advantage of before asking charters to produce even more. School leaders, she emphasized, should stay focused on running their schools.

Langley Elementary

CoNCerNs over fiNaNCial transparency are not restricted to the charters themselves.

The PCSB itself has at times come under suspicion. (Not without cause: the former chief financial officer of the PCSB allegedly aided the Options Charter self-dealing scam, settling those claims for $84,000.)

The money flowing into and out of the PCSB is both substantial in quantity and not closely monitored. The PCSB has the authority to accept unlimited gifts, grants, and contribu-

tions from anyone without obtaining mayoral approval, and has accepted nearly $10 million since 2003, including from the Walton Family Foundation, the Dell Foundation, and the DC Chamber of Commerce. PCSB spokesperson Tomeika Bowden says philanthropic support helped the charter sector develop things like evaluative tools and management frameworks. Between 2003-12, outside gifts made up 20 percent of the PCSB’s budget, yet between 2013-2017, under Pearson’s leadership, that number has dropped to 8 percent.

Though it’s not just outside contributions that raise questions. In 2008 The Washington Post found “conflicts of interest involving almost $200 million worth of business deals, typically real estate transactions, at more than a third of the District’s 60 charter schools.” The Post also reported that the then-PCSB board chair, Thomas Nida, who was also a United Bank senior vice president, “voted repeatedly to increase student enrollment—and thus taxpayer funding—for charter schools that borrow money from his bank.” Nida was first appointed to the PCSB in 2003, elected chairman in 2004, and served in that role—even after the Post investigation—until February 2010.

not going to charter-ize the whole system and we’re not going to make charters go away,” she tells City Paper.

Yet long-term facilities planning has proven a consistent problem.

Tensions escalated in 2014 when Harmony School of Excellence, a new science-themed charter, announced it would be opening across the street from Langley Elementary, a DCPS science-themed school—both educating the same grades.

DCPS’ then-chancellor, Kaya Henderson, had no idea this plan was in the works. In an interview later with The Washington Post, Henderson said the Harmony-Langley situation was a clear example of why there needs to be more strategic planning across the two education sectors, including more efficient uses of taxpayer resources. “Either we want neighborhood schools or we want cannibalism, but you can’t have both,” she said.

Henderson proposed a system where DCPS and charter school officials work together to figure out which neighborhoods needed new, good schools, and which could benefit from more specialized programs. The charter board could then use that informa-

The ciTy is statutorily required to provide all students with “by-right” public schools, meaning schools children are entitled to attend. No charter in the city is a by-right school. Some civic watchdogs look at the evolving charter/ DCPS landscape and ask: If more charters open, at some point won’t it become impossible to provide by-right public schools for all?

Deputy Mayor of Education Jennifer Niles doesn’t think so, and insists that D.C. will always have DCPS and by-right schools. “We’re

tion when determining which new charters to approve. “A citywide conversation about how many schools do we need, and how do we get to the right number of schools, as opposed to continuing to allow as many schools to proliferate as possible, is probably a necessary conversation to have at some point,” Henderson said at the time.

But three and a half years later, that conversation still does not exist. “PCSB staff believe that proximity to another school is not a valid

reason for denying a charter the right to open, and that proximity may even benefit the DCPS school,” reported the National Research Council in 2015. Scott Pearson has said that, “protecting a traditional school is no reason to keep a great charter school from opening its doors.”

Plus, Pearson says, it’s hard enough as it is to lock down facility space in Washington, and if the city really wanted to help influence charter site-planning, then it should work harder to give charter operators some of the city’s surplus school buildings that sit vacant.

“We believe in collaboration [with DCPS], but collaboration is not about land-use,” says Ramona Edelin, the executive director of the DC Association of Chartered Public Schools.

The D.C. Code requires that the mayor submit a “Facilities Master Plan” to the Council every 10 years—a guide for managing the city’s school facilities and supply of public school seats. The plan must include, among other things, the capacity of existing schools, projected facility needs for each local education agency, and recommendations for using or reducing excess space.

Public school advocates say that any fiscally responsible plan must include all the school facilities the city uses and pays for, including charters. But the charter-sector has pushed back, saying they are not legally required to produce long-term growth plans, let alone share them with city planners.

To navigate this conundrum, Niles established a two-year “Cross-Sector Collaboration Task Force” to explore policy issues between DCPS and charters. The task force is set to end in February 2018, and the Facilities Master Plan will be released sometime after that.

“The cross-sector task force is kind of a weak attempt to get voluntary cooperation by charter schools,” remarks Mary Levy, a veteran independent budget analyst for D.C. schools.

The resistance toward coordinated planning has fueled questions about whether it’s appropriate to expand charters—at significant cost to the city—while traditional schools still have capacity. According to data compiled by the 21st Century School Fund, D.C. has about 18,000 unused pre-kindergarten through 12th grade seats available, and another 7,000 if one counts the seats in closed schools still owned by the District.

But charter leaders think these figures exaggerate the real picture, and say that unless and until all public school seats in the city are “high-quality” seats, they should not stop opening new charters. “I am acutely aware that we do not have enough great schools, and our highest-performing schools almost always have waitlists,” says Pearson. “That’s the moral urgency I feel.”

Don Soifer, vice chair of the PCSB, echoes this idea. “With 13,000 students on charter waitlists and when one-in-three 14 year olds in the District still test at below-basic levels in math,” he asked City Paper, “can we afford to

let the urgency of creating more high-quality educational opportunities for children be compromised for reason of simplifying the planning process for adults?”

Is this a subtle call for an all-charter city?

Pearson says he has no interest in getting rid of traditional public schools. In an interview with City Paper he said that given the charter board’s rigorous authorizing standards, and DCPS’ own improvement, he doesn’t expect the charter sector will even hit 50 percent market share for another decade. “I think we’re holding that rough balance, and by my forecast we will have a rough balance for as far as the eye can see,” he says.

But Mark Lerner disputes the idea that the city has struck the right balance between the two sectors, and would prefer D.C. to look more like New Orleans, which has nearly all charters. “I want to see the traditional school system disappear,” he says, adding that talk of a charter “collaboration” with DCPS strikes him as a euphemism for “cooptation.”

And others see further charterization as likely or inevitable. Levy, the independent budget analyst, estimates that DCPS loses almost one percent of market share every single year to the charter sector, as the District’s enrollment increases have not been nearly as fast as the city’s school-age population. Filardo of the 21st Century School Fund says that if DCPS sticks to its proposed five-year strategic plan, which calls to enroll 54,000 students in traditional public schools by 2022, it may soon be unable to provide neighborhood schools in all communities. Public school advocates say that given the city’s population growth projections, DCPS should aim to enroll 65,000 students by 2022 instead. According to Filardo, “DCPS is actively avoiding planning for increased growth, while the charter sector is aggressively planning for new school openings and expanding enrollment caps.”

Critics like Jablow say the charter sector has gone too far in demonizing democratic input in the name of maintaining independence.

“A democratic public education for all has become the enemy,” she says.

In May, Jablow testified before the Council laying out a series of recommendations she’d like to see the charter sector adopt, including overhauling the charter board website so it’s easier for the public to study all schools, allowing more time for public comment, and holding more than one meeting per month, and not only in the evenings. “The charter board needs to be responsible for the public in ways it is not right now, as it is the only place where the public can go with concerns that exist in a larger sphere or if a school is unresponsive,” she argued.

As the city continues to craft and shape its growth plans for public education and school buildings, how and whether people will be able to weigh in on these questions remains to be seen.

CP

washingtoncitypaper.com december 1, 2017 15

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Primrose is now open in Brookland serving hearty French fare like Bœuf Bourguignon to pair with a wine list that’s worth exploring curated by coowner Sebastian Zutant. Find it at 3000 12th St. NW.

Spinning Plates

As D.C. restaurateurs diversify their brands, you can find their food at malls, markets, airports, and beyond.

By Laura Hayes To call Isabella eaTery, set to open in December inside Tysons Galleria, a game changer is an understatement. Not very long ago, mall food meant Auntie Anne’s pretzels and, if shoppers were lucky, a Chinese restaurant that handed out free samples of orange chicken on toothpicks.

Chef Mike Isabella’s dining hall will feature outposts of his full-scale restaurants including Arroz for tapas and bomba rice; Graffiato for focaccia pizza and antipasti; Kapnos Marketa for gyros, spitroasted meats, and dips; Pepita for tacos and frozen margaritas; Yona for sushi; and, for raw bar lovers, a version of Requin. It will also include a coffee shop, cocktail bar, and retro ice cream shop serving egg creams.

“Isabella Eatery is going to be the foundation for my company,” Isabella says. All managers and chefs will train there before taking posts in Isabella’s 11 full-scale restaurants in the region. “It’ll be a culinary school for us,” Isabella says.

The offerings at Isabella Eatery draw inspiration from Spain, Italy, Greece, Mexico, Japan, and beyond, demonstrating that Isabella has a grasp of wide-ranging cuisines. But Isabella’s portfolio is diverse in other ways too.

Under the umbrella restaurant group Mike Isabella Concepts (MIC), the Top Chef alum also runs ballpark stands, airport restaurants, a partnership with lunch delivery service Plum Relish that supplies office workers with bento boxes from the Kapnos menu, and a largescale event catering operation.

“We’ve grown really fast,” Isabella says.

“Our company is not even six-and-a-half years old.” Chefs by nature are restless and always looking to bring something new to the market and Isabella is no different. But his expansion strategy prioritizes getting his food in front of as many people as possible instead of wowing an elite few. “I want to hit more people, touch more people,” Isabella says. “I don’t want to hit 1,000 people a week. I want to serve millions of people a year.”

Young & hungrY

Isabella is one of several restaurateurs in the District that are rapidly diversifying their brands—a strategy that’s markedly different

16 december 1, 2017 washingtoncitypaper.com

from expanding on the same plane. Instead of introducing one fine dining restaurant after another like Fabio Trabocchi or open-

ing a host of upscale restaurants like Michael Schlow, these diversifying restaurateurs are adding more fast-casual concepts into the fold; setting up stands at farmers markets; building pop-ups to incubate fledgling ideas; and entering the grocery market.

And it’s not just empire-builders with major financial backing like Isabella, ThinkFoodGroup’s José Andrés, and Neighborhood Restaurant Group’s Michael Babin that are expanding their offerings. Pasta makers Matteo and Daniele Catalani are also figuring out how to bring their food to many different people. As is Erik Bruner-Yang, the chef behind Maketto, four Paper Horse ramen stalls inside local Whole Foods Markets, and two forthcoming restaurants inside The LINE Hotel DC. These chefs and restaurateurs face specific challenges in getting their food in front of more diners and convincing those diners that their businesses have little in common with national chains that don’t always prioritize high quality products and hospitality. They also reap unique benefits.

One of the biggest concerns for restaurateurs with their hands in many literal and figurative pots is safeguarding a brand’s good standing. If you had a crummy chicken parm sandwich at the G by Mike Isabella stand at Nationals Park, would you be as willing to fork over $150 for dinner for two at Arroz or Requin knowing Isabella was behind those restaurants too?

Isabella says he’s managed to protect the MIC brand from becoming diluted by depending on others he trusts when he can’t be everywhere at once. “Having someone like George [Pagonis] or Mike Rafidi—I know these guys can run their entities,” Isabella says. Pagonis is principally responsible for the Kapnos restaurants and Rafidi leads the kitchens at Arroz and Requin at The Wharf.

Michael Babin also has people to thank for Neighborhood Restaurant Group’s deep portfolio of nearly 20 projects that include everything from a brewery and bakeries to fine dining restaurants and butcher shops. “We’re not putting our eggs in one basket and the way we’ve grown has been around people,” he says.

Babin scouts passionate professionals who see eye-to-eye with him on business.

“Bluejacket is a perfect example,” he says.

“After working with [NRG beer director] Greg Engert for a while, we wanted to do a brewery even before Birch & Barley and ChurchKey opened.” Similarly, both Nathan Anda and Rob Rubba earned their chops in the kitchen at Tallula in Arlington. Now Rubba has his own NRG restaurant, Hazel, and Anda runs

DCFEED several Red Apron Butchery locations under the NRG brand.

Babin says he isn’t concerned that diners don’t always peg his restaurants and bars as belonging to NRG. His approach of giving his chefs autonomy means there’s less consistency from restaurant to restaurant and few NRG calling cards, save for some design elements and its beer lists.

NRG’s latest venture is its most casual.

Babin teamed up with Stacey Price to open Shop Made in DC in October. The retailshop-meets-cafe features rotating food vendors, coffee, and an Engert-curated drink selection. Adding more casual options to a restaurant group’s portfolio has emerged as a best practice among diversifying restaurateurs.

Until Andrés’ vegetable-driven, fast-casual restaurant Beefsteak landed in D.C. in 2015, most associated the restaurateur with his showstopping minibar or small plate emporiums Jaleo, Zaytinya, Oyamel, and China Chilcano. Now ThinkFoodGroup has a branch called FastGood Concepts that encompasses all Beefsteak locations and its Penn Quarter incubator space ThinkFoodLab, which opened earlier this year. There, diners could initially try food from Andrés’ food truck Pepe. Starting in January, FastGood COO Eric Martino says the lab will take tacos for a trial run.

“The vision is to feed a million people a day with the food we’re able to provide at Beefsteak,” Martino says. Introducing a more casual concept is good business for several reasons.

First, it creates a pipeline of employees. Someone who puts in two years at Beefsteak could graduate to another restaurant within ThinkFoodGroup. Fast-casual food also tends to be simplistic, making it easier to expand. There are already five Beefsteaks.

“The labor pool and talent is so thin because there are so many restaurants and hotels,” Martino says. Fast-casual restaurants typically require a smaller labor pool and perhaps one that doesn’t require as much training. That said, Martino says, “Hospitality has to exist in the fast-casual space and that comes with getting great team members.”

Daniele and Matteo Catalani, the uncle and nephew behind the rapidly growing Cucina Al Volo brand, also attribute much of their success to simplicity. “The biggest challenge is staff,” Daniele says. “If you keep things simple and organized, it’s easy to teach somebody. With fine dining, it’s very hard to find people.”

The pair started selling pasta at two D.C. farmers markets in 2015. Like many food entrepreneurs, they worked out of rented commercial kitchen space inside Union Kitchen.

Eventually, they were invited to set up a stall in Union Market, where they sell raw pasta to take home and a few dishes to eat onsite.

As their business grew, they needed more

production space, but a warehouse felt like too much too soon. “My friend Robert [Broglia] from Pasta Mia called me up and said, ‘I’m retiring,’” Daniele recounts. They negotiated over glasses of wine and in August 2016 Daniele and Matteo opened Osteria Al Volo on the first floor of Pasta Mia’s former home on Columbia Road NW. They run their pastamaking operation out of the basement.

That was just the beginning. You can still try Cucina Al Volo food at several local farmers markets, they have a booth inside Baltimore’s Mt. Vernon Marketplace, and they’ll soon have another in a forthcoming Ballston food hall. They’re also preparing to open two more full-service restaurants—a Cleveland Park trattoria and bar and a downtown pizzeria.

“Pasta has a lot of friends that go with it, so it’s easy to venture into something else,” Daniele says.

When it comes to managing money, Daniele and Matteo work to make sure each new project is self-sustainable. “If one business doesn’t work out, we’re not going to keep it open, funded through other businesses,” Daniele says. “If you can’t afford it, you should never step longer than your leg.”

Their diversification strategy has centered around loyal customers. “The only thing we can do against big corporations, big cookie cutter companies, is offer personality,” Daniele says. “You always see one of us involved in the business. That’s what has given us a good following.”

Bruner-Yang agrees that homegrown restaurateurs diversifying locally are different than national chains. “Beefsteak is a place you can go without questioning the integrity of the product and you feel good eating it,” he says.

“I grew up eating Ruby Tuesday but I remember going back with my kids and I was like, ‘This is really fucking bad.’” He says at places like Beefsteak, &pizza, CAVA, and Kapnos the mantra is about the product instead of the deal.

When asked if diversification is key to surviving in a competitive environment like the D.C. dining scene, Babin agreed, to some extent. “There are always going to be giants in the business. They’ll be the people that do one thing over and over again and drive volume and scale that way.” This is true of restaurants at all price points, be it Ruth’s Chris Steak House, Legal Sea Foods or Chipotle.

“It’s been more interesting to do different things,” Babin says. “It doesn’t have a lot of the same advantages of the first approach, but it has some advantages like built-in resilience.

And, for our team, it’s uniquely satisfying. In general there’s going to continue to be a role for both approaches.”

CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com washingtoncitypaper.com december 1, 2017 17

DCFEED Grazer

Breaking down Dublin’s signature late-night dish

By Laura Hayes Szechuan peppercorns, Chinese five-spice, Thai chilies

what we’ll eat next week: ragoût de poisson Provençal (seafood stew) with fennel, leeks, and chickpeas, $25, Primrose.

Excitement level: 5 out of 5.

Bless the chef that finds a way to make fried chicken a side. Chef Alex McCoy serves morsels of crispy poultry in a dish borrowed from Ireland known as a “spice bag” at his new burger joint, Lucky Buns. “It’s a legitimate dish, not something we created, but you just don’t see it outside of Dublin,” McCoy says. The city’s robust bar scene fuels a voracious late night food culture, and spice bags have a young cult following.

“We tell people to rip the bag open, have fun, get messy,” the chef instructs. His restaurant (2000 18 St. NW) is inspired by food from Australia, the United Kingdom, Ireland, and Southeast Asia, and elements from each region are evident in the breakdown of the spice bag below.

Pickled red peppers

Fried chicken that’s dredged in a blend of flours (including rice flour to give it the signature crispiness of Korean or Japanese fried chicken), plus a dash of McCoy’s hot chicken spice blend

Stir-fried onions and red peppers

HP Sauce—Britain’s signature brown sauce that you can put on just about anything. It’s vinegary and made from a dried prune base.

Hand-cut chips

Top of the Hour

Laura Hayes

Hours: 4-7 p.m. Sunday-Friday

Food specials: $4-$6 tapas bites including a Cuban-style shrimp cocktail, ceviche, a skirt steak slider, chicharrones, yucca fries, chicken croquetas, and blistered Padrón peppers

House-made Irish-style curry sauce with a twist— McCoy adds soy and ginger so it tastes a bit like the sauce that typically coats Japanese pork katsu.

va Caipirinha and creamy, crispy chicken croquetas served with roasted Cachucha peppers aioli. But the best part about Cuba Libre’s happy hour is that it’s great for groups. Commiserating co-workers or celebrating friends can order any seven tapas bites from the happy hour menu for $35.

Where: Cuba Libre, 801 9th St. NW; (202) 408-1600; cubalibrerestaurant. com/en/washington Drink specials: $5-$6 Caipirinha and Cuba Libre (rum, coke, and lime) cocktails; $4 select wines and sangrias; and $3.50 select beers

Pros: The music and not-so-swaying fake palm trees take you on a post-work vacation, but you’re not here for the ambience.

You’re here for the exceptionally cheap food and drink, including a zippy $5 gua-

18 december 1, 2017 washingtoncitypaper.com

Veg Diner Monologues

Cons: The vibe is a bit ho-hum. A few high-top tables are full of patrons sadly sipping sangria while typing on their laptops. Staggered duos fill the bar, talking business in hushed voices as if they’re still on the clock. It’s up to you to bring the party. Also, check your bill. A bartender rang up a $5 guava drink for $6 instead. —Laura Hayes

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

Priya Konings

Spice of Life

what we ate this week: Fried sugar toads with hot honey and buttermilk dressing, $16, The Dabney. Satisfaction level: 5 out of 5.

The Dish: Vegan Shrimp Where to Get It: Smoke and Barrel, 2471 18th St. NW Price: $9 What It Is: A vegan version of popcorn shrimp. Instead of using actual crustaceans, Chef Logan McGear blends cooked root vegetables like parsnips and sweet potatoes with sea kelp, and binds the ingredients together with vegan mayonnaise. He molds the mashed vegetables into the shape of shrimp, which are then dressed in a Victory Prima Pils beer batter and deep fried.

Each “shrimp” must be fried separately or else they stick together and form a clump. It’s a labor-intensive process, but the result is rather miraculous. Not only do fried the veggies resemble fried shrimp and taste a little briney thanks to the addition of sea kelp, but the texture is a match. And like real shrimp, the vegetable equivalent pairs perfectly with cocktail sauce.

The Story: McGear is known for creating vegan versions of traditional BBQ fare, like chicken wings, chili, and spare ribs.

He has even made vegan pork rinds called Snacklins. As his menu changes periodically, he is always looking for fresh ways to veganize classic American fare. In an attempt to push the envelope, he began experimenting with creating vegan seafood.

Why Even Meat Eaters Will Like It: Some meat eaters and pescatarians stay away from shrimp because of its high cholesterol content. Here, you get the flavor, texture, and satisfaction of popcorn shrimp in a slightly healthier format. Plus, these crispy nuggets taste as delicious as the originals. The yeasty, crunchy shell combined with the chewy, oceany filling is finger-licking good, and tastes great with a cold beer.

—Priya Konings

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

Nov. 24 Thru Dec. 23, 2017

12 p.m. to 8 p.m.

3nual

an downtownholidaymarket.com

@DtwnHolidayMkt

DowntownHolidayMarket

Downtown Holiday Market Guide

#DowntownHolidayMarket

washingtoncitypaper.com december 1, 2017 19

HONEST, QUALITY WORK AT AFFORDABLE PRICES.

C APITOL HILL AUTO SERVICE VOTED BEST OF DC 2017 BEST PLACE TO GET YOUR CAR SERVICED

Welcome to the 13th 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 13th Annual DowntownDC Holiday Market.

So Much More at the DowntownDC Holiday Market means:

6 1 5 I N D E P E N D E N C E AV E S E WA S H I N G T O N , D C 2 0 0 0 3 202 543 5155

• 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. 28, 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!

Thirteen years ago, the DowntownDC Business Improvement District (BID) and Diverse Markets 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 environmentally-friendly 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.

Celebrate the warm spirit of the season with music in a majestic setting. Don’t miss this favorite DC holiday tradition!

Betsy Burleigh, guest conductor.

tickets and info

JOY OF

Christmas SATURDAY, DEC. 16, 2:00 PM SATURDAY, DEC. 16, 7:00 PM SUNDAY, DEC. 17, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

CATHEDRALCHORALSOCIETY.ORG | 202-537-2228 20 december 1, 2017 washingtoncitypaper.com

The Market runs from Nov. 24-Dec. 23 from 12 p.m. to 8 p.m. daily 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 DowntownHolidayMarket.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!

Neil Albert President & Executive Director DowntownDC Business Improvement District

Downtown Holiday Holiday Market Market Guide Guide Downtown

Mike Berman Executive Director Diverse Markets Management

EXHIBITORS ANTIQUES AND COLLECTIBLES

iconsDC #31, Nov 24(F)–Dec 6(W) iconsDC #29, Dec 21(Th)—Dec 23(S) iconsDC.com Jentz Prints #7, Nov 24(F)—Dec 23(S) Tom Rall #13/14, Nov 24(F)—Dec 5(T)

CERAMICS

Kerri Henry Pottery #16, Nov 24(F)—Dec 7(Th) kerrihenrypottery.com Kuzeh Pottery #23, Dec 13(W)—Dec 19(T) kuzeh.us Printemps Pottery #17, Dec 9(S)—Dec 15(F) printempspottery.com Waters Woods #46, Nov 24(F)—Dec 7(Th) waterswoods.com

CLOTHES AND ACCESSORIES

Aria Handmade #32, Nov 24(F)—Dec 23(S) ariahandmade.com Art Inca Native #9, Nov 24(F)—Dec 23(S) Black Bear Leather #56, Dec 18(M)—Dec 20(W) blackbearleather.com Cho-pi-cha #56, Nov 24(F)—Nov 30(Th) Cross Roads By Mary #51, Dec 8(F)—Dec 16(S) De*Nada Design #30, Dec 8(F)—Dec 23(S) denadadesign.com Fuzzy Ink #8, Nov 24(F)—Dec 23(S) fuzzy-ink.com Handmade Especially For You #29, Dec 4(M)—Dec 12(T) clydelleco.com

Inka Treasure Shop #2, Nov 24(F)—Dec 23(S) inkatreasureshop.com Jonathon Wye, LLC #34, Nov 24(F)—Dec 23(S) jonwye.com Kerplunk Designs #27, Dec 10(Su)—Dec 15(F) Kora Designs #28, Nov 28(T)—Dec 2(S) Lil’ Fishy #38, Nov 24(F)—Dec 23(S) lilfishy.com LittleTibetBoutique #12, Nov 24(F)—Dec 23(S) Mirasa Design #52, Nov 24(F)—Dec 10(Su) mirasadesign.com Mistura Timepieces #10, Nov 24(F)—Dec 23(S) mistura.com Padhma Creation #54, Nov 28(T)—Dec 7(Th) padhmaknits.com Quavaro #44, Nov 24(F)—Dec 3(Su) quavaro.com Stitch & Rivet #59, Dec 15(F)—Dec 23(S) shopstitchandrivet.com The Buffalo Wool Co. #39,Nov 24(F)—Dec 17(Su) thebuffalowoolco.com Yikes Twins #43, Nov 24(F)—Nov 30(Th) yikestwins.com Yikes Twins #23, Dec 8(F)—Dec 12(T) yikestwins.com

COLLAGE

Had Matter #59, Nov 24(F)—Nov 26(Su) hadmatterart.com Had Matter #20, Dec 6(W)—Dec 12(T) hadmatterart.com Olan Quattro #46, Dec 8(F)—Dec 14(Th) olanquattro.com Relojearte #5, Nov 24(F)—Dec 3(Su) relojearte.com

CRAFTS

Analog #29, Nov 24(F)-Dec 3(Su) shopanalog.com Canimals #20, Nov 24(F)—Nov 26(Su) getcanimals.com Fancy HuLi #27, Nov 27(M)—Dec 6(W) fancyhuli.com Fancy HuLi #28, Dec 23(S)—Dec 23(S) fancyhuli.com Hooked and Loopy #23, Dec 1(F)-Dec 3(Su) etsy.com/shop/ hookedandloopy Hooked and Loopy #28, Dec 23(S)-Dec 23(S) etsy.com/shop/ hookedandloopy Hope’s Journals #59, Dec 1(F)—Dec 14(Th Juanita’s Adventures #26, Dec 8(F)—Dec 10(Su) juanitas.etsy.com Rebound Designs #54, Dec 8(F)—Dec 23(S) rebound-designs.com Sassafras Designs #27, Dec 7(Th)—Dec 9(S) sassafrasdesigns.com

FIBER ART

Jacq’s Dollhouse #22, Nov 24(F)—Nov 28(T) jacqsgirls.com Jen-A-Fusion Fashion Accesories #56, Dec 1(F)—Dec 8(F) jenafusion.blogspot.com Legendary Bowties #27, Nov 24(F)—Nov 26(Su) LegendaryBowties.etsy.com Legendary Bowties #18, Dec 4(M)—Dec 6(W) LegendaryBowties.etsy.com njb Basket of Jewels #26, Dec 5(T)—Dec 7(Th) etsy.com/shop/ njbbasketofjewels

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

Range of Emotion #36, Nov 24(F)—Dec 23(S) rangeofemotion.com Scarvelous #54, Nov 24(F)—Nov 27(M) facebook.com/Scarvelous Scarvelous #16, Dec 8(F)—Dec 23(S) facebook.com/Scarvelous Seeing In Fabric #39, Dec 18(M)—Dec 23(S) seeinginfabric.etsy.com The Mouse Works #61, Nov 24(F)—Nov 26(Su) themouseworks.com The Mouse Works #20, Dec 13(W)—Dec 17(Su) themouseworks.com Woolgathering #22, Nov 24(F)—Nov 28(T) facebook.com/ MichelleSasscer

GIFT FOODS

Cardinal Chocolates Inc. #15, Nov 24(F)—Dec 6(W) cardinalchocolates.com Cardinal Chocolates Inc. #15, Dec 14(Th)—Dec 23(S) cardinalchocolates.com Chocoidea #53, Nov 24(F)—Dec 14(Th) chocoidea.com Chocotenango #60, Dec 4(M)—Dec 16(S) chocotenango.com J. Chocolatier #53, Dec 15(F)—Dec 23(S) jchocolatier.com The Capital Candy Jar #64, Nov 24(F)—Dec 23(S) thecapitalcandyjar.com Whisked! #56, Dec 9(S)—Dec 10(Su) whiskeddc.com

FOOD AND BEVERAGES

Alexas Empanadas #1, Nov 24(F)—Dec 23(S) facebook.com/ alexasempanadas Migue’s Magnificent Mini Donuts #47, Nov 24(F)—Dec 23(S) crepesatthemarket.com The Taste of Germany #62, Nov 24(F)—Dec 23(S) thetasteofgermany.com

Downtown Holiday Market Guide Downtown Holiday Market Guide

Vigilante #48, Nov 24(F)—Dec 23(S) vigilantecoffee.com

GLASS

Cecil Art Glass #20, Nov 30(Th)—Dec 5(T) englerglass #43, Dec 8(F)—Dec 23(S) englerglass.com GlitzyGlass #40, Nov 24(F)—Dec 23(S) glitzy-glass.com Homegrown Glass Art #19,Dec 4(M)—Dec 23(S) ryaneicher.etsy.com New World Glass #18, Nov 30(Th)—Dec 3(Su) newworldglass.com

IMPORTED CRAFTS

Baby Alpaca #45, Nov 24(F)—Dec 23(S) Dorjebajra Tibet Shop #51, Nov 24(F)—Dec 7(Th) mytibetshop.com Harun’s African Art #20, Nov 24(F)—Nov 26(Su) Harun’s African Art #27, Dec 16(S)—Dec 23(S) Mundo Village #24, Nov 24(F)—Dec 14(Th) mundovillage.com Souvenir Arts #20, Dec 18(M)—Dec 23(S) russian-classics.com Toro Mata #6, Nov 24(F)—Dec 23(S) toromata.com Tunisian Touch #63, Nov 24(F)—Dec 23(S) tunisiantouch.com Vida Dulce Imports #26, Nov 24(F)—Nov 27(M) vidadulceimports.com Vida Dulce Imports #56, Dec 11(M)—Dec 17(Su) vidadulceimports.com

JEWELRY

Al Beads #61, Nov 27(M)—Dec 19(T) Amanda Hagerman Jewelry #18, Nov 24(F)—Nov 26(Su) amandahagerman.com American Princess #51, Dec 8(F)—Dec 16(S)

Andrea Haffner #28, Dec 17(Su)—Dec 22(F) andreahaffner.com Art Island #18, Nov 27(M)—Nov 29(W) etsy.com/shop/ArtIsland August Nine Designs #60, Dec 17(Su)—Dec 23(S) augustninedesigns.com Be You Fashion #22,Nov 29(W)—Dec 13(W) beyoufashion.com Black Black Moon #24, Dec 15(F)—Dec 23(S) blackblackmoon. carbonmade.com Courtney Gillen #51, Dec 17(Su)—Dec 23(S) D Collections #3, Nov 24(F)—Dec 23(S) David Conroy Art #55, Nov 24(F)—Dec 7(Th) davidconroyart.com Deco Etc. #58, Nov 24(F)—Dec 23(S) decoetcjewelry.com Karmic Kollections #27, Nov 24(F)—Nov 26(Su) karmickollections.etsy.com Karmic Kollections #18, Dec 4(M)—Dec 6(W) karmickollections.etsy.com Kiwi Exquisite #19, Nov 29(W)—Nov 30(Th) kiwikathy.blogspot.com La Contessa by Mary DeMarco #22, Dec 14(Th)—Dec 17(Su) lacontessa.com Leah Staley Designs #23, Dec 20(W)—Dec 23(S) leahstaley.com Leah Sturgis Jewelry Art #44, Dec 4(M)—Dec 23(S) leahsturgis.com Lilypad Designs #13, Dec 12(T)—Dec 23(S) lilypad-designs.com Linda Blackbourn Jewelry #23, Nov 24(F)—Nov 30(Th) lindablackbournjewelry.com Mann Made Designs #35, Nov 24(F)—Dec 23(S) mannmadedesigns.com Maruxi Jewelry #52, Dec 11(M)—Dec 23(S) maruxivintage.com Moya Gallery #17, Dec 16(S)—Dec 23(S) moya-gallery.com

washingtoncitypaper.com december 1, 2017 21

EXHIBITORS (cont.)

RuthieLine Jewelry Designs #28, Dec 3(Su)—Dec 7(Th) etsy.com/shop/ RuthieLineJewelryDsn Southwest Expressions #26, Nov 28(T)—Dec 4(M) nativecraftsworld.com Stio Design #30, Nov 24(F)—Nov 30(Th) ancientcoindesigns.com Stio Design #26, Dec 15(F)—Dec 23(S) ancientcoindesigns.com Taber Studios #29, Dec 13(W)—Dec 16(S) taberstudios.com Terry Pool Design #18, Dec 7(Th)—Dec 17(Su) terrypooldesign.com Turtles Webb #55, Dec 11(M)—Dec 23(S) turtleswebb.com Wiwat kamolpornwijit #18, Dec 18(M)—Dec 23(S) kamolpornwijit.com Yang Ku Designs #23, Dec 4(M)—Dec 7(Th) yangkudesigns.com

NONPROFIT

Turning The Page #20, Nov 27(M)—Nov 29(W) turningthepage.com

PAINTING

Golshah Agdasi #33, Nov 24(F)—Dec 7(Th) Golshah Agdasi #22, Dec 18(M)—Dec 21(Th) Joel Traylor Art #13, Dec 6(W)—Dec 11(M) joeltraylor.com Jonathan Blum #33, Dec 8(F)—Dec 23(S) Jonathanblumportraits.com Joseph Snyder #46, Dec 15(F)—Dec 23(S) josephharrisonsnyder.com Kessler Art #19, Nov 24(F)—Nov 28(T) kesslerart.com Marcella Kriebel Art & Illustration #23, Dec 13(W)—Dec 19(T) marcellakriebel.com

22 december 1, 2017 washingtoncitypaper.com

QuestSkinner #57, Nov 24(F)—Dec 8(F) questskinner.com Rayhart #28, Dec 8(F)—Dec 16(S) worksofrayhart.com Thomas Bucci #25, Dec 6(W)—Dec 18(M) thomasbucci.com Tsolmon-Art #4, Nov 24(F)—Dec 23(S) tsolmonart.com Turbopolis #25, Dec 19(T)—Dec 23(S) turbopolis.com Washington Watercolors #17, Nov 24(F)—Dec 8(F) marybelcher.com

PHOTOGRAPHY

Avner Ofer Photography #41, Nov 24(F)—Dec 23(S) avnerofer.com Chandler Art and Images #61, Dec 20(W)—Dec 23(S)

Drew Smith Photography #5, Dec 4(M)—Dec 23(S) drewsmithphoto.com Italy In Color #19, Dec 1(F)—Dec 3(Su) italyincolor.com Italy In Color #55, Dec 8(F)—Dec 10(Su) italyincolor.com Joe Shymanski #50, Nov 24(F)—Dec 23(S) joeshymanski.com MacroFine Photography #43, Dec 1(F)—Dec 7(Th) MacroFinePhotography.com Tom Wachs Photography #25, Nov 24(F)—Dec 5(T) tomwachs.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 Downtown Holiday Market Guide

41 42 43 44 45

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7th St.

Gallery Place/ Chinatown Metro

58 59 60 61 62 63 64

F St. washingtoncitypaper.com december 1, 2017 23

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.

FRIDAY, NOVEMBER 24 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Maureen Andary Cooking With Gas Kiss & Ride

THURSDAY, DECEMBER 7 Jazz, Pop Blues, Swing, Jazz Blues, Jazz, Soul

SATURDAY, NOVEMBER 25 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

DC Mudd The Fuss Stacy Brooks Band

Old School Blues Ska, Reggae Blues, Jazz

SUNDAY, NOVEMBER 26 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Music Pilgrim Trio Fast Eddie & the Slowpokes Domenic Cicala & Thensome

World Music Blues, Soul Roots Rock, Americana

MONDAY, NOVEMBER 27 12:00 - 2:00 5:00 - 7:00

All New Genetically Altered Jug Band Kentucky Avenue

Jug Band Modern Americana

TUESDAY, NOVEMBER 28 12:00 - 2:00 5:00 - 7:00

Jim Stephanson Judge Smith Junior Cline Duo Bill Baker Band Flo Anito Nina Casey Trio Jesse Palidofsky Dave Chappell & Dave Hartge Afro Nuevo Alpha Dog Acoustic Ruthie & the Wranglers King Street Bluegrass

Acoustic Blues Rockin’ Americana, Country Bluegrass, Country

SUNDAY, DECEMBER 3 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Potomac Revelers Karen Collins & Backroads The Lovejoy Group

American Traditions Honky Tonk Holiday, Jazz

MONDAY, DECEMBER 4 12:00 - 2:00 5:00 - 7:00

Billy Coulter Duo Runakuna

Roots Rock Andean Traditions

TUESDAY, DECEMBER 5 12:00 - 2:00 5:00 - 7:00

Jeffrey Greenberg & Tom Kitchen Ian Walters & Friends Emma G Seth Kibel & Sean Lane

24 december 1, 2017 washingtoncitypaper.com

Carly & Sol The Clear Harmonies Carolers Janine Wilson & Max Evans

Roots, Blues, Jazz A Cappella Holiday Original Roots Rock

SATURDAY, DECEMBER 9 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Big Lunch Hokum Jazz Los Caribbeat

Americana Vintage Blues, Jazz Calypso, Latin, West African

SUNDAY, DECEMBER 10 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

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Blues, Swing Gypsy Jazz Classic Rock

12:00 - 2:00 5:00 - 7:00

John G. Lewis & ElectroKoustic Bill Baker Band

Jazz, Soul Original Country Blues

12:00 - 2:00 5:00 - 7:00

Jonny Grave The 19th Street Band

Slide Blues Folk Rock, Americana

12:00 - 2:00 5:00 - 7:00

Dave Chappell & Dave Hartge Blue Dot jazz Troupe

Roots Guitar Jazz

12:00 - 2:00 5:00 - 7:00

Patty Reese Afro Nuevo

Acoustic Roots Latin Jazz

FRIDAY, DECEMBER 15 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Andra Faye & Scott Ballantine Flo Anito Snakehead Run

Blues, Roots, Jazz Jazzy Pop Jugband Blues

SATURDAY, DECEMBER 16 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Capital Hearings Lilt Trio Caliente

A Cappella Holiday & More Irish, Step Dancers Flamenco, Brazilian Jazz

SUNDAY, DECEMBER 17 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Andra Faye & Scott Ballantine Christylez Bacon Surf Jaguars

Blues, Roots, Jazz Progressive Hip Hop Surf Rock

MONDAY, DECEMBER 18 Jazz Blues, Roots, Classics

WEDNESDAY, DECEMBER 6 12:00 - 2:00 5:00 - 7:00

12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

THURSDAY, DECEMBER 14 Eclectic Classics Roots Guitar Latin Jazz

SATURDAY, DECEMBER 2 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

FRIDAY, DECEMBER 8

WEDNESDAY, DECEMBER 13 Jazzy Pop American songbook, Blues

FRIDAY, DECEMBER 1 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Acoustic Roots Celtic, Folk

TUESDAY, DECEMBER 12 R&B Soul Original Country Blues

THURSDAY, NOVEMBER 30 12:00 - 2:00 5:00 - 7:00

Patty Reese Painted Trillium

MONDAY, DECEMBER 11 American Songbook Roots, Rock

WEDNESDAY, NOVEMBER 29 12:00 - 2:00 5:00 - 7:00

12:00 - 2:00 5:00 - 7:00

12:00 - 2:00 5:00 - 7:00

Jim Stephanson The Lovejoy Group

American Songbook Holiday, Jazz

TUESDAY, DECEMBER 19 Acoustic Soul Jazzy Holiday

12:00 - 2:00 5:00 - 7:00

Bruce Hutton Split String Soup

Downtown Market Guide Guide Downtown Holiday Holiday Market

Appalachian Folk, Blues Bluegrass

WEDNESDAY, DECEMBER 20

12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Dave Chappell & Dave Hartge Maureen Andary Clear Harmonies Carolers

Roots Guitar Jazz, Pop A Cappella Hoiday

THURSDAY, DECEMBER 21 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Janna Audey & Rob Santos Ian Walters & Friends Gaye Adegbalola & John Freund

Pop, Rock, Jazz Blues, Roots, Classics Acoustic Blues

ADULT DANCE &

WELLNESS PROGRAM Ballet • Stretch • Floor Barre® Pilates • Jazz • Modern Open Classes • All Levels Downtown Silver Spring

FRIDAY, DECEMBER 22 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Jonny Grave Project Natale The Sweater Set

Slide Blues Jazz Folk Pop

SATURDAY, DECEMBER 23 12:00 - 2:00 2:30 - 4:30 5:00 - 7:00

Abigai & Eric Selby Miss Tess & The Talkbacks Ian Walters & Friends

New Students 2nd Class FREE

Celtic, Jazz, Fusion Americana, Blues Blues, Roots, Classics

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washingtoncitypaper.com december 1, 2017 25

GO L CAL. This Season.

OP PIN G

LOCA L is a

F

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CO M M U N

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Every Season.

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www.ThinkLocalFirstDC.com 26 december 1, 2017 washingtoncitypaper.com

Downtown Holiday Market Guide

T

CPArts

Tommy Keene, local power-pop legend, dies at 59.

washingtoncitypaper.com/arts

The Code War

For her new book, local author and journalist Liza Mundy helped to declassify hundreds of World War II documents detailing the women code breakers secretly recruited to join the war effort.

Courtesy of National Security Agency

The African-American code-breaking unit at Arlington Hall

By Kayla Randall In 1945, Jaenn Magdalene Coz wrote to her mother.

“I’m in some kind of hush, hush business. Somewhere in Wash. D.C. If I say anything I’ll get hung for sure. I guess I signed my life away. But I don’t mind it.”

Coz had been a young librarian. Then suddenly she was one of a number of librarians who had been recruited to decipher unfiled smatterings of coded messages for the U.S. Navy during World War II. She had now become a code-breaking librarian.

These five short sentences in Coz’s letter to her mother sharply captured the spirit and sentiment of thousands of women like her, code-breaking women who had done just the same in secretly signing their lives away without a pause. Their fathers and brothers, boyfriends and husbands, had gone off to fight on the front

BOOKS

lines. But these women—more than 10,000—didn’t sit at home and wait. When their country called, they answered and they fought, too.

Looking through archives, local journalist and author Liza Mundy came across Coz’s writing. When she read those words, she felt the all-encompassing magic in them. Immediately, she knew they’d be the epigraph of the book she was working on, Code Girls: The Untold Story of the American Women Code Breakers of World War II. Over the past several years, Mundy relentlessly combed through archival records for her book. She pored over data, documents, and all there was to be read about the code girls, drawing from three large collections produced by the Army and Navy during and after the war. Most of these collections had been classified for decades. Now, many of the documents are available at the National Archives at College Park.

In her quest to tell the stories of the overlooked women who broke German and Japanese military codes, Mundy had to go through the National Security Agency, filing Mandatory Declassification Review requests. Her work resulted in the declassification of stacks of material pertinent to wartime women code breakers. With that and the archival collections, she found herself drowning in about 15 oral histories and hundreds of boxes that included “thousands of memos, internal histories, reports, minutes, and personnel rosters, citing everything from lists of merchant ships sunk, to explanations of how certain codes and ciphers were broken, to names and addresses of newly arrived code breakers, to captured codebooks,” she writes.

Mundy found that the recruitment letters women received set this history-making code-breaking in motion.

The sinking of enemy ships during World War II had begun with simple letters. Mundy calls them Harry Potter letters: These women were finding out they could be wizards capable of great power, and they were receiving their invitations to schools of witchcraft and wizardry—the Army and Navy.

The letters first went out to elite women’s colleges in 1941, shortly before the attack on Pearl Harbor, inviting select women to interviews. The interviewers asked two very simple questions: “Do you like crossword puzzles and are you engaged to be married?” Answer the questions correctly—yes and no, respectively—and you made for a good candidate.

Through all of Mundy’s research, a portrait of these young women began to emerge. But her work was far from done. History hadn’t yet recognized the women’s integral part in shortening and winning the war. History had forgotten them.

So, she had to find them.

Mundy managed to track down and interview more than 20 of these code breakers, now in their 90s. She could tell some of the women were “fading,” but they still happily told her tales of what they could remember about that time in their lives, and the archives backed up their memories. at the Center of her book is Dot Braden, a Lynchburg native and former schoolteacher. Mundy had to convince her that it was no longer treasonous to talk about her secret work and accomplishments during the war. The punishment for treason during wartime was death.

“The women were told that just because they were female, that did not mean they would not be shot if they told anybody what they were doing,” Mundy writes.

Still, Braden feared the repercussions of talking about breaking enemy codes, even so many decades later. With the help of Braden’s son, who says he’d hardly ever heard his mother talk about her work, Mundy convinced her that it was permissible.

For many of the surviving code breakers, Mundy was the first person they had ever talked to about their service.

In 1942, Braden was 22 years old and teaching six subjects to multiple grades in southern Virginia. The war had caused teaching shortages. She wanted to look for other work, and her mother mentioned that government recruiters had come to the Virginian Hotel looking for schoolteachers to do a mysterious job near D.C. Braden had barely traveled and only on one occasion had ever left the state. She sprang for adventure, showing up to the hotel in September of 1943 to approach the recruiters.

A few weeks later, a fateful letter came to her home. She washingtoncitypaper.com december 1, 2017 27

was invited to work for the U.S. Army Signal Intelligence Service. She went to Arlington Hall in Arlington County, one of the base facilities for code-breaking, which still stands today.

Like the thousands of other recruits who ended up working there, Braden had no clue what she would be doing upon arrival. She soon found out that she was given one of the most paramount assignments in the building. She had to crack the codes of the ships bringing critical supplies to Japanese troops near the Pacific islands.

Arlington Hall itself has a special place in history. It was where some of the most significant code-breaking happened, and it was also home to a concealed AfricanAmerican unit of mostly women that was totally segregated from, and unknown to, many of their white counterparts.

Though Mundy searched and searched, she found few records about the unit and the contributions these AfricanAmerican women made. But she did find out what their work entailed. They broke commercial codes, trying to find out which companies were doing business with Adolf Hitler and the Japanese corporation Mitsubishi.

Together, all of these code breakers were on the cutting edge of science, technology, engineering, and math. Their work mattered. They broke major Axis code systems. They tested America’s own codes for security. They sunk ships.

They created “fake radio signals that helped fool the Germans into believing the D-Day invasion would take place in Norway or the Pas de Calais region of France—rather than

Courtesy of Edith Reynolds White

CPArts

Navy code breaker Edith Reynolds White (middle) unwinds with colleagues.

on the beaches of Normandy,” Mundy writes.

They formed the foundations of government signals intelligence and cybersecurity. Of course, there are many reasons the Allies won the war. Not least in that bevy of reasons, though, are these women whose diligence saved lives.

“They are entitled to glory and national gratitude which they will never receive,” said New York Representative Clarence Hancock of the code breakers in 1945 on the House floor following war victory.

Code Girls is about giving the code breakers the glory and gratitude to which they are entitled. Telling their individual narratives and their story as a whole, in all its tragedy, heartbreak, jubilation, and success, is Mundy’s way of thanking them for their service. In the bloodiest war in history, one with unprecedented loss and carnage, they quietly served their country as best they could.

Their names—Dot Braden, Jaenn Coz, and thousands more—aren’t etched into the victorious annals of American history. But then again, the names of those everyday people who wind up helping to change the course of the world never seem to be. Now, the women who signed their lives away are hidden figures no more.

Because of Mundy’s unearthing of their stories, they are getting more appreciation than they ever got at the time.

During one of her interviews, a surviving former code breaker mentioned the small acknowledgment her commander gave one night after a code-breaking triumph. “Good job, girls. You did good. And that’s all he said.”

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FRIDAY, DECEMBER 8 AT 8 P.M.

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AMERICAN FESTIVAL POPS ORCHESTRA SATURDAY, DECEMBER 9 AT 8 P.M.

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SUNDAY, DECEMBER 17 AT 2 P.M.

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Family Friendly performances that are most suitable for families with younger children

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TheaTerCurtain Calls

Ladies First Crazy for You

Music and Lyrics by George Gershwin and Ira Gershwin Book by Ken Ludwig Directed by Matthew Gardiner At Signature Theatre to Jan. 14, 2018 It’s hIgh tIme for a Broadway revival of the D.C. born-and-bred musical Crazy for You. I say this not only because Signature Theatre’s current production of this toe-tapper is absolutely fantastic. (But seriously, it is.) Or because a Los Angeles theater is attempting to relaunch the musical. Or because Crazy Ex-Girlfriend star Rachel Bloom starred in a New York concert production of Crazy for You last winter.

No, the big reason this show should be front and center right now is because we need great productions of musicals where strong female leads tell men to go to hell.

More specifically, they tell married philanderers to go see their wives, order would-be suitors to do the laundry, and scream when chorus boys messing around in rehearsal try to grope them.

“Not my chest!” one of the Follies girls howls, as four cowboys reach for her bosom.

She’s been teaching them choreography for a Western musical revue—“Hands on knees, hands on hips, hands on chests,” etc.—but doesn’t put up with any funny business when the guys misinterpret that last directive.

(If a certain United States senator had been hollered at in a similar manner—or behaved better at a USO skit rehearsal—he could have avoided quite a mess.)

For better or worse, director Matthew Gardiner’s production of this 1992 Tony-winner, adapted from a 1930 musical, completely resonates in 2017. Crazy for You features songs by George and Ira Gershwin (including some from the musical Girl Crazy) and a book by D.C. playwright Ken Ludwig, who tweaked the script for this production. The plot follows 1930s banking heir Bobby Child (Danny Gardner) from glittering Manhattan to gritty Deadrock, Nevada, a mining town that’s turned to the arts to solve its post-industrial

woes. (Both are well depicted in Paul Tate DePoo III’s whimsical set.) But poor Bobby aspires to be on Broadway, not Wall Street. When his mother (Sherri L. Edelen) offers him a chance to foreclose on a Nevada theater, he takes it, and with it comes his chance to be a fleet-footed star.

If that plot sounds sweetly old-timey, it is.

Your grandparents would recognize hits like “I Got Rhythm,” “Someone to Watch Over Me,” and “Embraceable You.” But what sets Crazy for You apart from most musicals of Gene Kelly vintage is the wit of Ludwig’s book and three female leads—in show business, no less—who are empowered with some persistent pluck.

Ashley Spencer, Maria Rizzo, and Natascia Diaz can all tap dance and classily kick ass.

When a Follies impresario (Bobby Smith) asks his dance captain Tess (Rizzo) to dinner, she smirks and responds with, “And how is Mrs. Zangler these days?”

Bobby the tap-dancing banker ends up summoning Tess and the girls to Nevada, in hopes that he can resurrect Deadrock’s theater rather than foreclosing on it. The potential star for the show-within-a-show is Polly Baker (Spencer), the postmaster’s nubile, whiskey-swilling daughter.

She and Bobby hit it off while hoofing their way through “Things Are Looking Up.” Then Polly finds out Bobby is the guy from the Big Bad Bank, and throws sarsaparilla in his face.

By this point late in Act I, any audience member who has also seen The Pajama Game at Arena Stage this holiday season has got to be thinking, “It is so nice to see a woman in a period musical draw the line.”

In a stroke of ridiculously bad timing, Arena Stage picked 2017 to revive a musical about men who exclusively date secretaries and seamstresses at a 1950s garment factory. It took the full-throated chemistry of Kelli O’Hara and Harry Connick Jr. to get the musical briefly back on Broadway in 2006. Sadly, Arena’s production doesn’t generate much steam heat, which makes the high-energy footwork and self-assured sassiness of Crazy for You even more appealing.

Way back in 1991, Susan Stroman choreographed the musical’s pre-Broadway tryout at D.C.’s National Theatre. She was slated to direct a New York-bound production at L.A.’s Ahmanson Theatre, but that production has been mysteriously postponed. Should the producers reconsider, Gardiner’s production does indeed have rhythm, and is raring to go in Arlington, Deadrock, or the Great White Way beyond.

—Rebecca J. Ritzel 4200 Campbell Ave., Arlington. $40–$113.

(703) 820-9771. sigtheatre.org.

Now BoardiNg Twelfth Night

By William Shakespeare Directed by Ethan McSweeny At Sidney Harman Hall to Dec. 20 TwelfTh NighT, shakespeare’s sturdiest comedy, is also his most sour. Its symmetrical plot gives us identical twin siblings of different genders who each fear the other dead, two cases of unrequited love, and scenes that mirror one another throughout. The only unbalanced thing in it is the cruel punishment inflicted upon Malvolio, Lady Olivia’s priggish, teetotaling chief servant. He deserves some comeuppance, sure. But not to be declared insane and jailed—this time, in a pet carrier.

Shakespeare wrote Twelfth Night as an amusement for its eponymous occasion, known to Christians as the Feast of the Epiphany. On this night, prosperous Elizabethan households would throw one last winter bachannal, during which the social hierarchy was relaxed and servants partied with their bosses. Supposedly you could get away with almost anything as long as you wore a mask. After Twelfth Night, Elizabethans would hunker down and wait for spring.

And after Twelfth Night, spring never came again for the playwright, who, having reached his mid-thirties, left comedies foregrounding sex and romance behind to write tragedies.

“Youth’s a stuff will not endure” and all.

Ethan McSweeny’s immersive new staging at Shakespeare Theatre Company’s cavernous Sidney Harman Hall arrives at the beginning of the holiday season, not the end, but it’s a good match for the lights and melancholy and travel and disappointment associated with this time of year.

Illyria, the gloomy neverland in which Twelfth Night is set, here takes the form of a more workaday purgatory: An airport departures gate. It’s a bravura feat of design (by Lee Savage) that costs the show something in intimacy. This clash is on full view—or, uh, in full sound—early on, when Heath Saunders’ acoustic rendition (as Feste, the singing jester) of “The Book of Love” fights for

aural space with the frightening sounds of a foundering… plane. That Magnetic Fields classic is one of a handful of contemporaryish songs soulfully performed by Saunders. (The centuriesold ones for which Shakespeare wrote the lyrics into the script are set to new music by composer Lindsay Jones.)

After that promising beginning, the price of putting the audience in a waiting room for three hours starts to seem more dear. This is a play about people wanting things they can’t have, but this supersized production seems to promise we can have it all. McSweeny gives the broad—like 10 seats to a row in Economy class broad—comedy among Olivia’s household equal time as the love stories, though they are not of equal interest. He also reshuffles a few Act I scenes, delaying the introduction of Duke Orsino (Bhavesh Patel), who pines fruitlessly for Olivia (Hannah Yelland) while his servant Cesario (who is really Viola, our disguised heroine, played with great emotional dexterity by Antoinette Robinson) pines for him.

Costume designer Jennifer Moeller makes it easy for those in coach seats to discern who’s who: She explains why no one can tell twins Viola and Sebastian apart by dressing Robinson and Paul Deo, Jr., respectively, in matching emerald-colored suits and heavy-framed glasses. She puts Orsino and his scooter-riding kinsmen in paisley suits that Prince might’ve worn onstage. Drunks Sir Andrew Aguecheek and Sir Toby Belch (Jim Lichtscheidl and Andrew Weems) are styled as expired hippies, and their companion Fabian is reimagined as a child in PJs. (Koral Kent and Tyler Bowman alternate in the role.) Emily Townley gets to bring the comic gifts more frequently employed at Woolly Mammoth (where she’s a longtime company member) to the role of maid Maria, the architect of Malvolio’s humiliation. The distinguishing feature of her costume, I am duty-bound to report, is a neckline so plunging it may not have reached the ground yet.

As the imperious Malvolio, STC stalwart Derek Smith hits all the familiar notes, and you even pity him a little once he gets so disproportionately owned. But it’s Saunders, a seasoned but new-to-D.C. actor, who owns the night. He’s undaunted by the big hall.

Whenever he shows up, it’s like someone gave you a key to the Admirals Club, and you can finally hear yourself think.

—Chris Klimek 610 F St. NW. $25–$118. (202) 547-1122. shakespearetheatre.org

washingtoncitypaper.com december 1, 2017 29

Galleries

Fields of Gleam

A new exhibition at the National Museum of Women in the Arts highlights the black women often left out of the canon of abstract art.

Magnetic Fields: Expanding American Abstraction, 1960s to Today

ate representational work and illustrate their shared struggle.

By the early ’70s, O’Neal was creating At the National Museum of Women in lamp-black paintings and drawings like “Litthe Arts to Jan. 21 tle Brown Girl” to challenge artists demanding figuration and narrative. “One of the reBy Jeffry Cudlin sponses to the black arts folks was to say: If you look at [these pieces], you’ll realize this is The curaTors of Magnetic Fields: Expandas black as it can be … is this black enough for ing American Abstraction, 1960s to Today want you?” she explained in a 2010 interview. “The to make the canon more inclusive—but they other response I was making was to [the minhaven’t really designed their exhibition to help imalists] … I felt the flattest painting has to be bring about that change. that I rub this [black pigment] directly into the Organized by the Kemper Museum in Miscanvas … so that was my response to the thesouri and on view at the National Museum of ory of the day.”

Women in the Arts through Jan. 21, Magnetic Youngblood, meanwhile, began her career in the 21st century with photo-collaged portraits and landscapes. A 2006 essay tagged her work as “post-black,” a term Studio Museum in Harlem Director Thelma Golden popularized in her influential 2001 exhibition, Freestyle.

“Post-blackness” suggests that while black artists may make works rooted in identity, they remain complex individuals, unencumbered by notions of authenticity or the inherent need to address race.

In her newer painted works, Youngblood forges an ambiguous relationship with the viewer. “Forecast” consists of buckling sheets of paper, at“Racism is Like Rain, Either it’s Raining or it’s Gathering Somewhere” by Mary Lovelace O’Neal (1993) tached to the canvas and dribbled with thin washes of blue Fields brings together works by 21 black wom- second room, Mary Lovelace O’Neal’s “‘Lit- acrylic pigment. The artist has taken a small en artists born between 1891 and 1981. These tle Brown Girl with Your Hair in a Curl’/Dad- photo of puffy white clouds, cut it into a tearpaintings, sculptures, and mixed media pieces dy #5” (1973) sits across from Brenna Young- drop shape, and attached it near the center have been arranged to emphasize formal affin- blood’s “Forecast” (2014). O’Neal’s piece is a of the canvas. A patch of glue sits just under ities: Artworks with similar strokes hang side- small charcoal-and-pastel drawing on paper; the photo, suggesting it has been sloppily reby-side, regardless of when, where, or why Youngblood’s is a six-foot-tall acrylic painting. moved and repositioned. The piece compristhey were made. The result is a beautiful but Aside from the jump in scale, they look sim- es a series of mysterious yet informal gestures ahistorical show, full of visual rhymes but light ilar: Both contain flat, rectangular expanses within a large, heroic-scaled canvas.

With her work, O’Neal signals a defiant of a single color. But they come from differon explanation or context. refusal of her peers; Youngblood, meanThis doesn’t mean that the show shouldn’t ent worlds.

O’Neal studied at Howard University while, plays a game of peekaboo, combining be seen and celebrated. Co-curators Erin Dziedzic and Melissa Messina deserve praise in the 1960s with legendary artists David the inscrutability of Jasper Johns with subfor filling the NMWA with stellar under-exam- Driskell and Lois Mailou Jones and art his- urban social dysfunction. Yet the interpretorian James A. Porter. She developed a col- tive labels don’t dwell on such differences, ined art from the past and the present.

From the 1960s, the show includes Wash- orful, gestural abstract style, but was chided and instead generically describe one paintington Color School-connected painter Alma by other black artists who wanted her to cre- er’s work as “imbued with personal experiThomas, whose choppy, all-over facture and monochromatic compositions contrast with works by her better-known white male peers.

From the present, there’s New York installation artist Abigail DeVille, who fills galleries with destroyed fragments of buildings, viscerally addressing the churn of gentrification.

Either artist would be a great subject for a solo show in a museum on the National Mall.

But in this exhibition, viewers may struggle to connect these women with one another, with the various tangled threads of art history, or with any meaningful definition of abstraction.

The show features a number of potentially misleading pairings. In a corner of the show’s

30 december 1, 2017 washingtoncitypaper.com

ence;” the other’s as “suggesting many possible narratives.”

The show’s catalog bounces between conversations with artists and different takes on individual careers. The results seem less museum-y and more like the PR a commercial gallery might generate, affirming the quality of the artists on view, but eschewing scholarly pronouncements. Key mentors, institutions, and other exhibitions are mentioned, but few dots are connected.

In this loose framework, other important distinctions get lost. Consider Maren Hassinger’s “Wrenching News” (2008), a large mandala made from shredded copies of the New York Times with stories addressing the aftermath of Hurricane Katrina. On the surface, this piece seems to fit a recurring idea in the show’s texts: Black women artists feel compelled to embed charged content in otherwise formally-driven works.

Yet in the past Hassinger has created similar-looking pieces not as objects for contemplation but as the artifacts of collaborative performances in which volunteers weave newspaper strips together in the gallery. Her oeuvre also includes elements of dance, video, and installation. She has no particular allegiance to abstraction.

Similarly, Jennie C. Jones’s panels of stretched soundproofing fabric—bearing musical titles like “Tritone (Dissonant)” (2015)— might read as minimalism, especially sitting near work by hard-edged abstract painter Candida Alvarez. Yet Jones has collaborated with live musicians on sound art and created sculptural assemblages with cables and CD jewel cases. She is not so much a painter referring to jazz as a conceptual artist toying with the codes of museum display.

It’s odd that the roster for a show positing an alternative history of abstraction includes so many contemporary artists who are not adherents to the faith. Stranger still, the earliest piece in Magnetic Fields comes from 1963, almost two decades after the big bang of Abstract Expressionism. One could argue that many of the genuinely abstract pieces here represent a retreat from prevailing art discourses into an academic period style.

This disregard for timelines and classifications might indicate the curators’ willingness to discard commonly accepted ideas of artistic innovation, transgression, and progress. This makes some sense: If the traditional stories of art exclude the work of women and people of color, why keep telling them at all? But any show challenging white-male-dominated art hierarchies ought to—and certainly could—provide a strong counter-narrative for the past half-century. Magnetic Fields doesn’t quite put together that new story, but it does at least bring together the artists who should be in it.

CP 1250 New York Ave. NW. $8–$10. (202) 7835000. nmwa.org.

A Holiday Pops! featuring Megan Hilty Dash through the snow to our merrily adorned Concert Hall and warm your spirit with fresh takes on comforting classics and sing-along carols in this annual National Symphony Orchestra tradition, joined this year by TonyÂŽ-nominated stage and screen star Megan Hilty.

December 8 & 9 | Concert Hall TICKETS ON SALE NOW! KENNEDY-CENTER.ORG (202) 467-4600

David and Alice Rubenstein are the Presenting Underwriters of the NSO. AARP is the Presenting Sponsor of the NSO Pops Season.

Tickets also available at the Box Office.

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

washingtoncitypaper.com december 1, 2017 31

FilmShort SubjectS KC JAZZ CLUB

HARRIET TUBMAN

Oh, high Marks The Disaster Artist

Directed by James Franco ConCepts like “good” and “bad” cannot describe The Room, Tommy Wiseau’s 2003 romantic drama that would eventually become Inspired by abolitionist and activist Harriet Tubman, the trio makes its Kennedy Center a cult classic. The Room exists outside the neat debut showcasing music from its 2017 album, Araminta. confines of qualitative discussion: It is anti-art, TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 with scenes and dialogue so inexplicable and Tickets also available at the Box Office. Groups call (202) 416-8400. funny that they boggle everyone’s collective For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. understanding of human nature. Wiseau also Support for Jazz at the Kennedy Center is generously provided by C. Michael Kojaian. stars in the film, and his bizarre persona only adds to the film’s mystique. In The Disaster Artist, a comedy about Wiseau and his friend/ muse Greg Sestero, director James Franco could have easily made a mean-spirited film.

One of its many charms, however, is how Franco treats Wiseau with genuine affection.

Sestero and the journalist Tom Bissell cowrote the book The Disaster Artist, a behindthe-scenes insight into the making of The Room, so it follows that the film keeps the story from Greg’s point-of-view. James’ brother Dave Franco plays Greg with a mix of charm and goofy, wide-eyed innocence. We first see Greg in an acting class, wooden and stiff, while Tommy (James Franco) is downright liberated.

He screams Stanley Kowalski’s lines from A Streetcar Named Desire, writhing on the stage, seemingly indifferent about whether his Brando impression makes any sense.

Tommy and Greg become fast friends, and together they leave San Francisco for Los Angeles, sharing the dream that they make it in show business. Something is off about Tommy, though—he will not tell Greg where he is from, despite a thick Eastern European accent (he claimsthroughout to be from New Orleans)—and yet TomPick up a copy today from vendors downtown my has enough confidence for both of them.

D.C. or visit www.streetsense.org for more information.

There is little sense that Dave and James are actual brothers, mainly because James gives a pitch-perfect impression of Wiseau. Anyone who has seen The Room will appreciate his dedication to all of Wiseau’s tics. Dave gives a Pick up a copy today from vendors throughout downtown more traditional performance, and accomplishD.C. or visit www.streetsense.org es something trickier: He makes us believe that Greg would go along with, and sometimes defor more information. fend, Tommy’s erratic decisions.

SAT., DEC. 16 AT 7 & 9 P.M. | TERRACE GALLERY

Educating the public and empowering the homeless one newspaper at a time. the public and empowering

ess one newspaper at a time.

32 december 1, 2017 washingtoncitypaper.com

Screenwriters Scott Neustadter and Michael H. Weber wisely spend plenty of time alone with Greg and Tommy, so when they get to making The Room, the dynamics between the two leads and the crew are sharply defined. Seth Rogen appears as a script supervisor, leading to an agonizing, hilarious sequence where Tommy flubs the same line dozens of times. In the frequent downtime between takes, Franco sneaks in shrewd asides so we can get a sense of how the crew allowed The Room to end up the way it did.

The Disaster Artist can be a typical “behind the scenes” film like Ed Wood or The Player, with the added complication of Wiseau’s unjustified ego and failed attempts at Hollywood glitz. Wiseau uses expensive green screens for no discernable reason, and the film’s big sex scene looks like ’90s-era Cinemax (we see way too much of Franco’s hairy ass). Between oddly specific mise-en-scène and the quasiromance between Greg and Tommy, gently suggested and rarely acknowledged, The Disaster Artist uses convention to only deepen The Room’s pervasive quirks.

Another crucial choice is Franco’s decision to never explain Tommy or his background.

There are many pet theories—one of the most compelling is how The Room is a laundering scheme for the mob—but his friendship to Greg is the only anchor we are given. The unlikely pair do not have chemistry, exactly, and instead their relationship is borne out of a need that neither could probably articulate. There are some subplots, including Greg’s budding romance with Amber (Alison Brie), and yet they are all in service of Greg and Tommy’s cinematic baby. The script takes some liberties with The Room’s premiere, but they are wellchosen, allowing its heroes to transition from anonymous outsiders to beloved outsiders.

The Disaster Artist may be a tough sell for novices to The Room. If you have never gone to a midnight screening or watched among friends, there are many little references you’ll miss. Still, as the end credits begin, Franco offers a sideby-side comparison of his version and Wiseau’s original film. His mimicry is downright impressive, with every detail syncing perfectly, and recognizable comic actors filling in the bit parts.

The Room is not a universal film, but The Disaster Artist strives for genuine commonality.

Wiseau might as well be from a different dimension, but what he wants—success, respect, recognition—makes him more like us than we might care to admit. Given his own failed attempts at becoming an auteur, it is all too perfect that James Franco finally finds his muse, successfully humanizing one of cinema’s few genuine eccentrics.

—Alan Zilberman The Disaster Artist opens Friday at Regal Gallery Place and Arclight Bethesda.

A N A C O S T I A A RT S C E N T E R DECEMBER CALENDAR POETIC VIBES OPEN MIC

DEC.

1

8:00 PM

1241 GOOD HOPE RD SE

MAHOGANYBOOKS MEET AND GREET

DEC.

4

6:30 PM

1231 GOOD HOPE RD SE

“SOLDIER POET”

DEC.

8-21

BY THEATRE PROMETHEUS THEATRE INCUBATION

1231 GOOD HOPE RD SE

T I M E S VA RY

SOUNDS FROM THE SEA

DEC.

8 GALLERY OPENING RECEPTIONS 3 NEW EXHIBITIONS OPEN IN ONE NIGHT!

B Y M A RT H A J A R V I S JACKSON

1241 GOOD HOPE RD SE

6:00 PM

FA C I N G R E A L I T Y

BY CHINEDU FELIX OSUCHUKWU

6:00 PM

H O L I D AY S TA R K I L L E R S STRIKE BACK 6:00 PM DEC.

16

Mason Bates’s KC Jukebox

2208 MARTIN LUTHER KING JUNIOR AVE SE

1231 GOOD HOPE RD SE

SELFIES W I T H S A N TA

FREE HOLIDAY PARTY

11:00 AM

1231 GOOD HOPE RD SE

P L U S S H O P H O L I DAY S A L E S AT R E S I D E N T B U S I N E S S E S : N U B I A N H U E M A N , V I N TAG E & C H A R M E D, T H E D E N , M A H O GA N Y B O O KS A N D D U E N D E D I S T R I C T L E A R N M O R E : A N A C O S T I A A RT S C E N T E R . C O M / E V E N T S | @ A N A C O S T I A A RT S

Anacostia Arts Center, Honfleur Gallery & Vivid Solutions Gallery are all projects of ARCH Development Corporation, a nonprofit dedicated to the revitalization of Historic Anacostia.

AREYOUAWINNER?

PROvEIt!

Ear / Eye The intersection of music and imagery will be explored in this multimedia performance, from the beautiful textures of Timo Andres’s response to pen-and-ink abstractions to Anna Clyne’s industrial response to a film about the creation of the Brooklyn Bridge.

Fri., December 8 at 7:30 p.m.

Terrace Theater

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Visit washingtoncitypaper.com/promotions and enter to win anything from movie tickets to spa treatments!

You can also check out our current free events listings and sign up to receive our weekly newsletter!

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

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

washingtoncitypaper.com december 1, 2017 33

34 december 1, 2017 washingtoncitypaper.com

CITYLIST

THE CURRYS

Music 35 Theater 38 Film 41

Music

SAT. DEC. 9 ~ 9:30PM TIX: $15-$18

CITY LIGHTS: FRIDAY

FRIDAY ClASSICAl

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

UMD Symphony Orchestra. 8 p.m. $10–$25. theclarice.umd.edu.

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Rachmaninoff’s Symphonic Dances. 11:30 a.m. $15 –$94. kennedy-center.org.

H 11.30

muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Off The Cuff: Mozart’s Mysterious Requiem. 8:15 p.m. $35–$99. strathmore.org.

CouNTRY

BirChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Bill Kirchen & Too Much Fun and Commander Cody. 7:30 p.m. $29.50. birchmere.com.

Folk

BarnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Eileen Ivers. 8 p.m. $27–$32. wolftrap.org.

HIp-Hop

SongByrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. SonReal. 8 p.m. $15–$85. songbyrddc.com.

HolIDAY

BirChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Bill Kirchen & Too Much Fun and Commander Cody. 7:30 p.m. $29.50. birchmere.com.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $72–$77. bluesalley.com. national muSeum of ameriCan hiStory 14th Street and Constitution Avenue NW. (202) 633-1000.

Smithsonian Jazz Masterworks Orchestra: Duke’s 2nd Sacred Concert. 7:30 p.m. $25–$40. americanhistory.si.edu.

VoCAl

hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Paul Anka. 9 p.m. $60–$100. hyltoncenter.org.

WoRlD

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

UMD Gamelan and Koto Ensembles. 8 p.m. Free. theclarice.umd.edu.

SAMANTHA BEE

Remember years ago when an op-ed came out claiming women not only weren’t funny, but couldn’t be funny? Samantha Bee proved the haters wrong and laughed (and made audiences laugh) all the way to the comedy winners’ circle. She holds the title of longest-running correspondent on The Daily Show—from 2003–2015—and her own late night show, Full Frontal with Samantha Bee, is a huge hit on TBS, nominated for multiple Primetime Emmys in the last two years. She’s funny, but fearless, too. Whether she’s inviting Glenn Beck on as a guest or taking on Trump’s cabinet or being one of the first late night hosts to tackle the Harvey Weinstein harassment scandal with humor and teeth, Samantha Bee isn’t afraid to stick it to the man, whoever that man may be. Samantha Bee will take to the Kennedy Center for a moderated Q&A with New York magazine writer and bestselling author Rebecca Traister of All the Single Ladies fame.

This conversation between two highly intelligent women is truly a must-see and hear during this #MeToo era. The night promises to be full of thought-provoking discussion infused with Bee’s signature dose of insightful and pointed wit. Samantha Bee speaks at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $49–$89. (202) 467-4600. kennedy-center.org.

—Diana Metzger rhizome dC 6950 Maple St. NW. Galaxy Express 555. 8 p.m. $10. rhizomedc.org.

Folk BirChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Cheryl Wheeler & John Gorka. 7:30 p.m. $39.50. birchmere.com.

SATuRDAY

FuNk & R&B

hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Manassas Symphony Orchestra: Silver Passport. 4:30 p.m. $16–$20. hyltoncenter.org.

JAzz

ClASSICAl

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Rachmaninoff’s Symphonic Dances. 8 p.m. $15 –$94. kennedy-center.org. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Maryland Classical Youth Orchestra. 4:30 p.m. $15–$25. strathmore.org.

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

Jacob Banks. 8 p.m. $16–$18. rockandrollhoteldc.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $72–$77. bluesalley.com.

SuNDAY

12.26

H

1.13 1.16 1.25 2.2 2.6 2.19

ClASSICAl

Baird auditorium at national muSeum of natural hiStory 10th Street and Constitution Avenue NW. (202) 633-3030. The Emerson String Quartet. 6 p.m. $50–$65. residentassociates.org.

BarnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Washington Symphonic Brass. 3 p.m. $45. wolftrap.org. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Mozart’s Requiem. 3 p.m. $35–$99. strathmore.org.

MARY BATTIATA & LITTLE PINK - ALBUM RELEASE SHOW ROCK-A-SONICS JUMPIN’ JUPITER HUMAN COUNTRY JUKEBOX THE CURRYS VINTAGE #18 THREE BAD JACKS KITI GARTNER THE WOODSHEDDERS COLONEL JOSH & THE HONKY TONK HEROES WOODY PINES

12.1 12.2 12.8 12.9 12.16 12.17 12.21 12.22 12.23

1.7

3.3 3.14 3.17 3.24 4.6

H

H FRED EAGLESMITH TRAVELING SHOW STARRING TIF GINN THE 19TH STREET BAND HONEYSUCKLE AN EVENING WITH IAN MOORE ALBERT CASTIGLIA LARA HOPE & THE ARC-TONES SCOTT H. BIRAM & HOOTEN HALLERS SUZY BOGGUSS (TWO SHOWS) GANGSTAGRASS BARRENCE WHITFIELD & THE SAVAGES / DADDY LONG LEGS CORY MORROW SUNNY SWEENEY

HILL COUNTRY BARBECUE MARKET

the anthem 901 Wharf Street SW, DC. Dark Star Orchestra. 7:30 p.m. $40-$89. theanthemdc.com.

national gallery of art WeSt garden Court 4th Street and Constitution Avenue NW. (202) 8426941. Inna Faliks and Daniel Schlosberg. 3:30 p.m.

Free. nga.gov.

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

Sixth & i hiStoriC Synagogue 600 I St. NW. (202) 408-3100. Emily Haines. 8 p.m. $26–$86. sixthandi. org.

the Warne Ballroom at the CoSmoS CluB 2121 Massachusetts Ave NW, DC. Alexi Kenney & Renana Gutman. 4 p.m. $20–$40. phillipscollection.org.

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

RoCk

washingtoncitypaper.com december 1, 2017 35

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

1811 14 ST NW TH

www.blackcatdc.com @blackcatdc

NOV / DEC SHOWS THU 30 POSCARDS FROM THE VAG:

GREETINGS FROM GILEAD

FRI 1 FRI 1

POKEY LAFARGE HOUSE OF SWEETBOTTOM

BURLESQUE REVUE (21+)

SAT 2

FIRST LADIES

SAT 2

BASS MAYHEM DANCE PARTY

MON 4 THU 7 FRI 8 SAT 9

DJ COLLECTIVE REUNION

CINDY WILSON

(OF THE B-52S)

INCREDIBLE CHANGE

THE INTERRUPTERS

SWMRS

FYM PRODUCTIONS PRESENTS:

EIGHTIES MAYHEM

HOLIDAY EXTRAVAGANZA THU 14 FRI 15 SAT 16 SUN 17

CHRIS FLEMING

HARRY & THE POTTERS’ YULE BALL 2017

CHURCH NIGHT (21+)

ROCK’N’SHOP

FRI 22 CUMTOWN LIVE PODCAST SAT 23 SAT 30 SUN 31

THE OBSESSED

EX HEX W/ SNAIL MAIL

NYE BALL

POKEY LAFARGE

Nov 30

THE MARSHALL TUCKER BAND

Dec 1

“Honky Tonk Holiday”

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

BICE

w/ Chrissi Poland

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

DAR WILLIAMS

8&9

Including reading & discussions from her new book What I Found In A Thousand Towns

10

LUTHER RE-LIVES 7th Annual Holiday Concert

13

An Acoustic Christmas with

OVER THE RHINE CARBON LEAF

14 16

Sawyer

SOUTHSIDE JOHNNY & The Asbury Jukes

NORMAN BROWN’S JOYOUS CHRISTMAS with BOBBY CALDWELL & MARION MEADOWS 20 ROBERT GLASPER EXPERIMENT 17

21

A JOHN(mature WATERS CHRISTMAS audiences)

23

FREDDIE JACKSON CHARLES ESTEN

PIFF THE MAGIC DRAGON 29 PIECES OF A DREAM 28

30

21st Annual

31

New Year’s Eve with

HANK WILLIAMS TRIBUTE 8 pm

THE SELDOM SCENE The Eastman String Band, The Plate Scrapers

THU DEC 14

CHRIS FLEMING

TAKE METRO!

WE ARE LOCATED 3 BLOCKS FROM THE U STREET/CARDOZO STATION

TO BUY TICKETS VISIT TICKETFLY.COM

NpR MuSIC’S 10TH ANNIVERSARY CoNCERT AND pARTY

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

Tix @ Ticketmaster.com 800-745-3000

26&27

FRI DEC 1

CITY LIGHTS: SATuRDAY

Jan 4 5&6 7

RIK EMMETT (of Triumph) ROAMFEST 2018 MO’Fire featuring

IN GRATITUDE and MOTOWN & MORE!

11

36 december 1, 2017 washingtoncitypaper.com

VIVIAN GREEN

Back in November of 2007, when compact discs were on their way out and MP3s were quickly becoming the preferred way to press play, NPR Music was born. Through meticulous and engaging reporting, NPR Music has cataloged a decade’s worth of musical innovations, like Radiohead’s pay-as-youwish album In Rainbows in 2007, the 2007 launch of SoundCloud, the birthplace of millennial musicians, and the dramatic and brilliant way Beyoncé can drop record-breaking albums seemingly overnight like she did in 2013 with Beyoncé and 2016 with Lemonade. Even NPR’s own Tiny Desk Concert, created by Bob Boilen (pictured) in 2008, changed the game by taking musicians out of loud clubs and into a quiet, bookshelf-lined office space for a truly intimate performance. NPR Music has also captured some of music’s more compelling political moments, like Pussy Riot’s protest performance in Moscow in 2012 and when Kanye interrupted Taylor Swift at the 2009 VMAs. NPR Music’s 10th Anniversary Concert and Party will showcase a top-secret lineup of their staff’s favorite musicians of the past decade, so prepare for surprises. NPR Music’s 10th Anniversary Concert and Party begins at 7 p.m. at 9:30 Club, 815 V St. NW. $40. (202) 265-0930. 930.com.

—Casey Embert

Folk

HolIDAY

HolIDAY

JAzz

Sixth & i hiStoriC Synagogue 600 I St. NW. (202) 408-3100. The Barr Brothers. 8 p.m. $17–$20. sixthandi.org.

BarnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Washington Symphonic Brass. 3 p.m. $45. wolftrap.org.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $72–$77. bluesalley.com. tWinS Jazz 1344 U St. NW. (202) 234-0072. Nelson Dougherty. 8 p.m.; 10 p.m. $22. twinsjazz.com.

RoCk

BirChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Blood, Sweat & Tears feat. Bo Bice.

7:30 p.m. $49.50. birchmere.com.

MoNDAY ClASSICAl

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

UMD Percussion Ensemble. 8 p.m. Free. theclarice.umd.edu.

JAzz

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

UMD Winter Big Band Concert. 7:30 p.m. $10–$25. theclarice.umd.edu. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Dave Koz. 8 p.m. $48–$88. strathmore.org.

TuESDAY ClASSICAl

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 4052787. Tine Thing Helseth. 8 p.m. $10–$25. theclarice. umd.edu.

ElECTRoNIC

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

Yann Tiersen. 8 p.m. $35. thelincolndc.com.

amP By Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Sons of Serendip’s Christmas. 8 p.m. $30–$35. ampbystrathmore.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Gloria Reuben. 8 p.m.; 10 p.m. $42. bluesalley. com.

RoCk

the anthem 901 Wharf Street SW, DC. The National.

8 p.m. $46-$76. theanthemdc.com.

BirChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Hot Tuna. 7:30 p.m. $49.50. birchmere.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Pinegrove. 7 p.m. Sold out. blackcatdc.com.

WEDNESDAY ClASSICAl

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

UMD Repertoire Orchestra. 8 p.m. Free. theclarice.umd.edu.

HolIDAY

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Nicole Henry. 8 p.m.; 10 p.m. $25. bluesalley. com.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Nicole Henry. 8 p.m.; 10 p.m. $25. bluesalley. com.

VoCAl

hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Messiah Sing-A-Long. 7 p.m. $5–$15. hyltoncenter.org.

THuRSDAY HolIDAY

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m.; 10 p.m. $47–$52. bluesalley.com.

THIS WEEK’S SHOWS

Deer Tick w/ Nore Davis ......................................................................... Th NOV 30 Priests w/ Blacks Myths & Mellow Diamond ................................................... F DEC 1 Reverend Horton Heat w/ Big Sandy • Dale Watson • The Blasters ............... Su 3 Jungle w/ Makeness ........................................................................................... M 4 TEEV PRESENTS

Hadag Nahash with special guest Hanan Ben Ari .................................... W 6 DECEMBER

JANUARY

NEW MEDIA TOURING PRESENTS Matt Bellassai This is a seated show.

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

Everything is Awful Tour .............Th 7 No Scrubs: ‘90s Dance Party

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

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

Bear Grillz w/ Phase One •

Dirt Monkey • Kompany Late Show! 10pm Doors.. ..................Sa 9

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

Hiss Golden Messenger .....M 11 The White Buffalo w/ Suzanne Santo ........................W 13 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Angel Olsen w/ White Magic.....F 15 ALL GOOD PRESENTS

Victor Wooten Trio feat. Dennis Chambers &

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

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

Ookay .........................................F 22 OTHERFEELS PRESENTS NEXT UP II FEAT.

Tony Kill • Echelon The Seeker • OG Lullabies • Dawkins • FootsXColes • Sugg Savage .Sa 23

U STREET MUSIC HALL PRESENTS

Flosstradamus .....................Th 28 SPEND NEW YEAR’S EVE WITH

SPOON w/ White Reaper

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

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

The Wombats w/ Blaenavon & Courtship .............M 8 Passion Pit ...............................W 10 Cracker and Camper Van Beethoven ....Th 11 AN EVENING WITH

The Disco Biscuits Ticket included with purchase of tickets to

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

RJD2 w/ Photay .........................Sa 13 Dorothy ....................................Su 14 ALL GOOD PRESENTS

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

Circles Around The Sun ....Th 18 ALL GOOD PRESENTS

The Infamous Stringdusters ......................Sa 20 MØ & Cashmere Cat .............M 22 Tennis w/ Overcoats ..................W 24 Big Head Todd & The Monsters w/ Luther Dickinson ..................Th 25 Frankie Ballard .......................F 26 Enter Shikari w/ Single Mothers & Milk Teeth ..Su 28 Black Rebel Motorcycle Club w/ Night Beats .............................M 29 Kimbra w/ Arc Iris ....................Tu 30

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED! STORY DISTRICT’S

TOP

SHELF

CALEXICO

................................................................SAT JANUARY 20

.......................................................................... FRI APRIL 27

On Sale Friday, December 1 at 10am SECOND NIGHT ADDED!

THIS WEDNESDAY! AN EVENING WITH

ALL GOOD PRESENTS

DAVID RAWLINGS ...DEC 6 The Wood Brothers

Robert Earl Keen’s

Merry Christmas From The Fam-O-Lee Show .........DEC 7 AN ACOUSTIC EVENING WITH

w/ The Stray Birds ................... JAN 26 & 27 Dixie Dregs (Complete Original Lineup

Kip Moore, Randy Rogers,

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

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

NEW YEAR’S EVE AT LINCOLN THEATRE!

AEG PRESENTS

White Ford Bronco:

DC’s All 90s Band ..................... DEC 31 Henry Rollins -

Travel Slideshow .......................... JAN 15

Majid Jordan w/ Stwo ................... JAN 23

Bianca Del Rio ........................... MAR 15 Rob Bell w/ Peter Rollins ............. MAR 27 Max Raabe & Palast Orchester ...................APR 11

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Stop Light Observations w/ Little Stranger ............................... F DEC 1 Allan Rayman ..................................... Sa 2 Uno The Activist & Thouxanbanfauni w/ Warhol.ss ........................................... Tu 5 Busty and the Bass w/ Caye .............. Th 7 Rico Nasty .............................................F 8 Cousin Stizz w/ Levi Carter & Big Leano

Alex Aiono ......................................... Sa 20 Helado Negro + Cuco w/ Lido Pimienta ................................... Tu 23 Rostam w/ Joy Again .......................Th FEB 1 Flint Eastwood w/ NYDGE .......................F 2 Anna Meredith ..................................... Sa 3 Mod Sun w/ Karizma .............................. M 5 Why? .......................................................F 9 New date! All 11/13 tickets honored. ........ Tu 12 Shamir w/ Partner ................................ F 15 Anti-Flag & Stray From The Path .. Sa 10 Wylder ................................................ Sa 17 herMajesty MAGIC GIANT w/ The Brevet ............... Su 18 & Honest Haloway w/ Greenland ................................Sa JAN 13 MAKO .................................................. Sa 24 • 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!

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

930.com washingtoncitypaper.com december 1, 2017 37

CITY LIGHTS: SuNDAY

MARk BRADFoRD: pICkETT’S CHARGE

The visual artist Mark Bradford is known for synthesizing media in his large scale works, often combining bold language, advertisement, or other images with his distinct style of modern abstraction. His newest—and largest, spanning almost 400 linear feet around the Hirshhorn's third level—installation, Pickett’s Charge, draws inspiration from the Hirshhorn's location on the National Mall as well as the Civil War action from which it takes its name. The original Pickett's Charge was the Confederate Army's last push during the Battle of Gettysburg and the finale of their hopes for actually winning the war. In his modern take, Bradford takes stock of the reality and mythology of the battle, adding printed images from Paul Philippoteaux’s "Gettysburg Cyclorama" on top of layers of rope and paper. The resulting eight works are technically and logistically stunning, and allow viewers to question the sociopolitical truths that shape contemporary views of the world. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Nov. 12, 2018, at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 633-4674. hirshhorn.si.edu.

—Jackson Sinnenberg

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m.; 10 p.m. $47–$52. bluesalley.com. milKBoy arthouSe 7416 Baltimore Ave, College Park. Donny McCaslin Group. 7 p.m.; 9 p.m. $10–$30. milkboyarthouse.com.

AREYOUAWINNER?

PROvEIt! Visit washingtoncitypaper.com/promotions and enter to win anything from movie tickets to spa treatments!

You can also check out our current free events listings and sign up to receive our weekly newsletter!

38 december 1, 2017 washingtoncitypaper.com

tWinS Jazz 1344 U St. NW. (202) 234-0072. Twins Jazz Orchestra. 10 p.m. $22. twinsjazz.com.

Theater

annie The family-favorite musical about a redhaired orphan and the rich businessman she charms fills Olney’s mainstage during the holiday season.

Featuring favorite songs like “Tomorrow” and “It’s a Hard Knock Life,” this production is directed by Jason King Jones. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Dec. 31. $37–$84. (301) 9243400. olneytheatre.org. the BooK of Will After the Bard’s tragic death, two of his devoted actors decide to assemble the First Folio to ensure their mentor’s words reach the masses. Playwright Lauren Gunderson, who last presented Miss Bennet: Christmas at Pemberley at Round House, returns to present this tale of friendship just in time for the holidays. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Dec. 24. $36–$65. (240) 644-1100. roundhousetheatre.org. a Child’S ChriStmaS in WaleS and other StorieS Washington Stage Guild combines stories from Dylan Thomas, Louisa May Alcott, Charles Dickens,

and A.A. Milne in this anthology of holiday stories.

These brief interludes remind audiences of the meaning of the holiday season. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Dec. 17. $25–$60. (240) 582-0050. stageguild.org.

ChriStmaS at the old Bull & BuSh Enjoy classic British carols and drinking songs in this holiday show set in a London pub. As the characters enjoy mince pies and sausage rolls, they perform sketches and share stories related to the Christmas season.

MetroStage. 1201 N. Royal St., Alexandria. To Dec. 24. $55–$60. (703) 548-9044. metrostage.org. a ChriStmaS Carol Veteran local actor Craig Wallace takes on the role of Scrooge in this popular musical adaptation of Charles Dickens’ tale about kindness and holiday cheer. Celebrating more than 35 years as a Ford’s holiday tradition, Michael Wilson’s adaptation is directed by Michael Baron. Ford’s Theatre. 511 10th St. NW. To Dec. 31. $22–$92. (202) 3474833. fords.org. a Coffin in egyPt As her life nears its end, a 90-year-old small town widow reflects on the events that changed its course in this drama from playwright Horton Foote. Jane Squier Bruns stars in this production that opens Quotidian Theatre’s 20th season.

Quotidian Theatre Company at The Writer’s Center.

4508 Walsh St., Bethesda. To Dec. 17. $15–$30. (301) 816-1023. quotidiantheatre.org.

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

Featuring favorite songs like “I’ve Got Rhythm,” “Nice Work If You Can Get It,” and “Someone to Watch Over Me,” this musical, arriving at Signature in time for the holidays, is directed by Matthew Gardiner. Signature

NEW MUSIC VENUE

NOW OPEN

CITY LIGHTS: MoNDAY

DISTRICT WHARF

DECEMBER F1

THE CHUCK BROWN BAND

SU 3

JEAN CARNE & NORMAN CONNORS

M4

LARRY CARLTON

T5

SYDNI MARIE AND BRIAN CHRISTOPHER

TH 7

PETER YARROW

DINER & BAR OPEN LATE!

OF PETER, PAUL & MARY

JuNGlE

XL Recordings did itself a service when it signed London duo Jungle back in 2014. Jungle dapples you with sunlit, tropical sounds while sharing an energetic live set. Some bands are best experienced in person. Jungle seems to cover that territory with a certain amount of effortless ease that calls back to founders Tom McFarland and Josh Lloyd-Watson’s funky, mid-tempo grooves, which teeter between modern and ’70s-style funk. The duo makes the kind of music that infects your joints, turning your elbows and knees into rhythmic pools. In the depths of fall and with the onset of winter nearly here, seeing a show reminiscent of a personified palm tree might seem a bit odd, but McFarland and Lloyd-Watson pepper their pulsing drums with icy synths, making Jungle more than a trop-vibe group à la Calvin Harris’ Funk Wav Bounces Vol. 1.

Jungle performs with Makeness at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Jordan-Marie Smith

CITY LIGHTS: TuESDAY

CHRIS BRokAW

People, especially music critics, love to toss around the word “versatility” when it comes to hyping their favorite underrated musicians. “So-and-so’s versatility is really on display here…” “On Album, Soand-so really shows off their versatility over a variety of instruments…” It’s an easy trap to fall into, and something of a music writing cliché. Now that I’ve acknowledged that, please forgive the cliché as I gush about the wide-ranging versatility of Chris Brokaw. Best known as the drummer of slow-core pioneers Codeine and guitarist of the Boston altrock group Come, Brokaw has had a steady output of solo material for 20 years. But what’s most stunning about his solo material is its sheer, ahem, versatility. He’s put out several albums of straightahead, western-tinged rock, solo instrumental guitar records in the tradition of John Fahey, and experimental/avant-garde explorations. He’s also nursed a healthy career as a sideman and hired gun, playing with everyone from GG Allin to The Lemonheads. At Rhizome, though, expect the kind of nuanced, intimate performance from Brokaw that the cozy, experimental setting inspires. Chris Brokaw performs at 8 p.m. at Rhizome, 6950 Maple St. NW. $10. rhizomedc.org.

—Matt Cohen

F8

LANDAU MURPHY, JR’S HOLIDAY SHOW

S9

KING SOUL CD RELEASE PARTY

NEW YEAR’S EVE 2017

SU 10 HOLIDAY WINDS FEAT ELAN TROTMAN, ALTHEA RENE AND TRACY HAMLIN T 12

THE BETHESDA BLUES JAZZ YOUTH ORCHESTRA FUNDRAISER FEATURING BEN WILLIAMS

LIVE ON STAGE

F 15

MAGGIE ROSE

S 16

JOE CLAIR & FRIENDS COMEDY SHOW

SU 3 TH 7 F8 SA 9 TH 14

FRI, FEB 2ND JON B FEB 28 & MAR 1ST

8 PM

F1

SA 16 W 20 F 22 SA 23 F 29

BILLY OCEAN CELEBRATES BBJs 5TH ANNIVERSARY

SWAMPCANDY & BALKUN BROTHERS w/ SKRIBE

DECEMBER CONCERTS

F 15

JUST ANNOUNCED

CE PARTY!� �ACOUSTIC ‘80s DAN

NOVEMBER CONCERTS

TH 14 EDDIE KENDRICK HOLIDAY TRIBUTE CONCERT FEATURING JIMI DOUGANS

SU 17 MOTOWN & MORE HOLIDAY SHOW

7PM DOORS

� �RING IN 2018!�

TH 30

2 SHOWS / 7 & 10 PM

•

WITH

SARAH SHOOK & THE DISARMERS w/ OLIVIA MANCINI PATTERSON HOOD HAYLEY JANE & THE PRIMATES DANNY BARNES TRIO w/ HERB AND HANSON CHOPTEETH AFROFUNK BIG BAND ROOSEVELT COLLIER TRIO HENDRIX MEETS FUNK CURLEY TAYLOR & ZYDECO TROUBLE ZYDECO DANCE LESSON INCLUDED WITH TICKET PURCHASE! HOLIDELIC w/ SPECIAL GUEST DR. ELMO THE 9 SONGWRITER SERIES HOLIDAY SHOW REVELATOR HILL WITH RON HOLLOWAY w/ BRYAN ELIJAH SMITH MISS TESS AND THE TALKBACKS KING SOUL

JANUARY CONCERTS F5

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

SA 6 TH 18 SA 20

BAKITHI KUMALO AND THE ALL-STAR GRACELAND TRIBUTE BAND JACOB JOLLIFF BAND FREE DIRT PRESENTS: WESTERN CENTURIES w/ VIVIAN LEVA & RILEY CALCAGNO DAN BERN

TICKETS ON SALE NOW! AT PEARLSTREETWAREHOUSE.COM

washingtoncitypaper.com december 1, 2017 39

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

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

AN ACOUSTIC EVENING WITH

JOHN ANDERSON

600 beers from around the world

Downstairs: good food, great beer: all day every day

THURSDAY NOV

30

an intimate evening with

*all shows 21+

EMMYLOU

NOVEMBER 30TH

BENEFITING BONAPARTE’S RETREAT

COMEDY BLOCK

PRESENTED BY DOMINIC RIVERA DOORS AT 7PM, SHOW AT 8PM DECEMBER 1ST

DC GURLY SHOW

DOORS AT 8PM, SHOW AT 9PM DECEMBER 2ND

WEEABOOTIES:THE BIGGER, BETTERANIME SHOW

PRESENTED BY MAKI ROLLE’S CHOP SHOP DOORS AT 8PM, SHOW AT 9PM DECEMBER 3RD

THE POETRY BROTHEL

DOORS AT 7PM, SHOW AT 8PM DECEMBER 4TH

TRIVIA NIGHT AT 7:30PM

COMICSAND COCKTAILS PRESENTED BY FANTOM COMICS AT 6:30PM

DECEMBER 5TH

CAPITAL LAUGHS OPEN MIC COMEDY AT 8:30PM

DECEMBER 6TH

TRIVIA NIGHT AT 7:30PM

HARRIS with special guests

LARRY CAMPBELL & TERESA WILLIAMS

SUNDAY DEC

10

THURS, DEC 21

AN EVENING WITH THE BSTREETBAND FRI, DEC 22

YELLOW DUBMARINE W/ THE LOVING PAUPERS

W/ JUSTIN TRAWICK & THE COMMON GOOD TUES, DEC 26

AN EVENING WITH

DECEMBER 8TH

ALMOST LADIES NIGHT

PRESENTED BYTOMMYTAYLORJR.

40 december 1, 2017 washingtoncitypaper.com

CITY LIGHTS: WEDNESDAY

A TRIBUTE TO TALKING HEADS W/ N.E.W. ATHENS

THURS, DEC 28

BEN WILLIAMS PRESENTS HIS 6TH ANNUAL BIRTHDAY BASH

A HOLIDAY MUSICAL EXTRAVAGANZA FRI, DEC 29

DAVID WAX MUSEUM W/ BEARCAT WILDCAT

NEW YEAR’S EVE

BONERAMA AND NEW ORLEANS SUSPECTS SUN, DEC 31

NEW YEAR’S EVE CELEBRATION

IN THE LOFT

THE 19TH STREET BAND THUR, JAN 4

FREE

NSO IN YOUR NEIGHBORHOOD KICK-OFF

DOORS AT 8PM, SHOW AT 9PM

1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

the PaJama game Union conflicts are never as thrilling or romantic as they are in this musical set at the Sleep-Tite Pajama Factory. When the superintendent falls in love with the head of the grievance committee, all sorts of drama ensues, as does plenty of dancing. Alan Paul directs Arena’s annual fall musical that features songs like “Steam Heat” and “Hernando’s Hideaway.” Arena Stage. 1101 6th St. SW. To Dec. 24. $65–$120. (202) 488-3300. arenastage.org.

START MAKING SENSE

NIGHT II

FOR GUNVIOLENCE PREVENTION

mean girlS Tina Fey, Jeff Richmond, and Nell Benjamin team up to turn the classic 2004 high school comedy into a stage musical, which makes its preBroadway debut in D.C. Featuring a cast of theater veterans including Kate Rockwell, Taylor Louderman, and Kerry Butler, the show is directed by Tony winner Casey Nicholaw. National Theatre. 1321 Pennsylvania

nothing to loSe (But our ChainS) Second City performer Felonius Monk mines his own life for experience in this comedy show that chronicles his journey from incarcerated criminal to corporate drone to comedian and actor. He’s joined on stage by a company of Second City comedians. Woolly Mammoth Theatre. 641 D St. NW. To Dec. 31. $20–$69. (202) 3933939. woollymammoth.net.

WED, DEC 27

SUN, DEC 31

DOORS AT 6PM, SHOW AT 7:30PM

the laSt night of Ballyhoo The year is 1939 and Atlanta’s posh German Jews are preparing for Ballyhoo, their annual lavish country club ball. The Freitag family hopes that the party of the year will be the chance for their daughters to meet their future husbands—but when their uncle brings home his new employee, a handsome Eastern European bachelor from Brooklyn, everyone must confront their own prejudices, desires, and beliefs. Winner of the Tony Award for Best Play, The Last Night of Ballyhoo is an achingly beautiful, comedic, and enthralling romance by the writer of Driving Miss Daisy. Directed by Amber McGinnis. Theater J. 1529 16th St. NW. To Dec. 31. $24–$69. (202) 777-3210. theaterj.org.

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

(202) 488-3300. arenastage.org.

ORIGINAL ALLMAN BROTHERS BAND

PERFECT LIARS CLUB

SUPER SPECTACULAR COMEDY SHOW

draW the CirCle When a man announces his gender transition to his conservative Muslim family, he’s forced to figure out what kind of life he wants to live and what it means to be loved unconditionally. Performed in repertory with The Real Americans. Atlas Performing Arts Center. 1333 H St. NE. To Dec. 24. $20–$65. (202) 399-7993. atlasarts.org.

THE DEFINITIVE TRIBUTE TO THE

PRESENTED BY FANTOM COMICS

DECEMBER 7TH

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

1st Stage. 1524 Spring Hill Road, McLean. To Dec. 17. $15–$33. (703) 854-1856. 1ststagetysons.org.

LIVE AT THE FILLMORE:

NIGHT I

DOORS AT 5:30PM, SHOW AT 7:30PM

Curve of deParture As family members come together for a funeral, they meet in a New Mexico hotel to discuss their futures and what they owe each other. Mike Donahue directs this story about relationships and the ways we learn from each other. Studio Theatre. 1501 14th St. NW. To Jan. 7. $20–$85. (202) 332-3300. studiotheatre.org.

VIRGINIA COALITION

NEW ORLEANS SUSPECTS AND BONERAMA

AT 6:30PM

Ave. NW. To Dec. 3. $68–$178. (202) 628-6161. nationaltheatre.org.

SAT, DEC 23

SAT, DEC 30

COMICSAND COCKTAILS

Theatre. 4200 Campbell Ave., Arlington. To Jan. 14. $40–$108. (703) 820-9771. sigtheatre.org.

THEHAMILTONDC.COM

THE MESSAGE: NEW MEDIA WoRkS

The Hirshhorn follows the slept-on Suspended Animation exhibition with The Message: New Media Works, a collection of film and video installations that investigate 21st century life. Curator Mark Beasley says the exhibition “unfolds as a musical LP, with each work as an individual track on a record connected by similar themes.” In that way, theology, race, sexuality, and technology are explored through pieces that reappropriate modes of communication, from the “performance lecture” of Hito Steyerl’s surveillance-subverting How Not To Be Seen to Frances Stark’s My Best Thing, which recreates real-life sex chats through computer animation. Giving the exhibition its title is Love is the Message, The Message is Death by Arthur Jafa, an award-winning cinematographer and director who has worked with everyone from Spike Lee to Solange. With the Kanye West-soundtracked Love is the Message, Jafa aimed to replicate "the power, beauty, and alienation of black music,” providing this exhibition with not just its title but perhaps its most timely work. The exhibition is on view daily 10 a.m. to 5:30 p.m., to April 22, 2018, at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 633-4674. hirshhorn.si.edu.

—Chris Kelly

Puzzle

CITY LIGHTS: THuRSDAY

PICK SIX

By Brendan Emmett Quigley

FOREVER BALANCHINE

Suzanne Farrell’s departure, in 1993, from the New York City Ballet, was not what one would call smooth. It played out in the pages of the New Yorker and the New York Times, as Farrell and NYCB ballet master-in-chief Peter Martins fought over who was the rightful heir to the legacy of George Balanchine, the company’s co-founder. After her dismissal, Farrell went on to teach a new generation of dancers at universities around the world and build a company of her own at the Kennedy Center. When her ensemble wraps up its nearly two decade run this weekend, there will be plenty of beautiful Balanchine choreography but, one hopes, significantly less drama. Its final shows will include dynamic solo pieces that Balanchine originally created for (and literally bequeathed to) Farrell, as well as grand compositions featuring more than a dozen dancers. Each piece celebrates the human form, as the artists extend their limbs and express the music of Ravel, Tchaikovsky, and Gounod. Forget The Nutcracker: This is the ballet performance of the season. The Suzanne Farrell Ballet performs at 7:30 p.m. at the Kennedy Center Opera House, 2700 F St. NW. $29–$89. (202) 467-4600. kennedy-center.org. —Caroline Jones PeeKaBoo! a nativity Play As Mary and Joseph prepare to welcome a child who will save the world, they try to figure out what to do and are joined by a familiar cast of characters that includes cattle, shepherds, and a boy with a drum. Helen Murray directs the world premiere of Anne M. McCaw’s holiday comedy about family and parenting. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax.

To Dec. 24. $22–$32. (703) 674-3177. thehubtheatre.org.

da. To Dec. 17. $15–$30. (301) 816-1023. quotidiantheatre.org. toP girlS To celebrate a promotion at work, Marlene hosts a dinner party with significant women from history. Caryl Churchill’s award-winning drama looks at the roles women have played over time and how Marlene rises to the top of her field. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 2. $35–$45. (202) 265-3767. keegantheatre.com.

Private ConfeSSionS Presented as part of the Bergman 100 celebration, this stage adaptation of the director’s 1996 film comes from his wife, Liv Ullman. Told through a series of non-linear conversations, the production probes themes of infidelity, loneliness, and the weight of secrets. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Dec. 9. $19–$49. (202) 467-4600. kennedy-center.org.

tWelfth night When Viola crashes on the coast of Illyria and disguises herself as a page to Duke Orsino, she kicks off a rollicking tale of love, romance, and mistaken identity. Director Ethan McSweeny leads Shakespeare Theatre Company’s production of this classic comedy which features one of the Bard’s most memorable heroines. Sidney Harman Hall. 610 F St. NW. To Dec. 20. $44–$118. (202) 547-1122. shakespearetheatre.org.

the real ameriCanS Playwright and journalist turns 100 days of traveling through America in a small van into this one-man show that shares information about the people he met along the way. As he learns about the goals and political actions of these new friends, he also learns more about the nation’s diversity. Presented in repertory with Draw the Circle. Atlas Performing Arts Center.)1333 NE. To Dec. $ H4St. 6 $ %20.( ' $20–$65. (202) 399-7993. atlasarts.org.

/ ( 1 2 2 0 $ 5 SCriPtS in Play feStival See a variety of new ' $ ' 1 2 7 6 plays by emerging playwrights at this annual theater 5 / Arts2 ' Avant 1 $ Bard.8Gunston festival presented by WSC Center, Theatre Two. 2700 $ South * 5 Lang $ 3St.,, Arlington. / / To Dec. 17. $10–$35. (703) 418-4808.

0 7 1 , 0 wscavantbard.org.

6 + 5 ( : $ * ( the SeCond Cityâ&#x20AC;&#x2122;S tWiSt your diCKenS Cele6with ( the ( acclaimed 1 2 ( / + ( brate the holiday season Chicago 0 Combin8 7 7 1A < 3 ' Carol. comedy troupeâ&#x20AC;&#x2122;s take on Christmas ing improvised portions with rehearsed 7 sketches, , 0 ( this comedic revue features appearances from favorite 6 7 ( 5 1 ' , characters like Ebenezer Scrooge and Bob Cratchit. / 2700 $ 7F St. , NW. 2 To 1 Dec.0 Kennedy Center Theater(Lab. 31. $49â&#x20AC;&#x201C;$59. 202-467-4600. / $ kennedy-center.org.

6 + 3 5 $ , 6 St. niCholaS Conor McPhersonâ&#x20AC;&#x2122;s mono6 0 ( , 1 7 (dramatic / logue opens Quotidian Theatreâ&#x20AC;&#x2122;s season in repertory + 2 7 6 7 < / ( with A Coffin in Egypt. Steve Beall stars as the Dublin drama critic who encounters vampires when he follows an actress to London. Quotidian Theatre Company at The Writerâ&#x20AC;&#x2122;s Center. 4508 Walsh St., Bethes-

8 6 $ 8 6 $ 6 & 5 ( : 6

Film

/ $ 3 ( / ( & 2 / ( 6 7 , & ( CoCo musician Miguel visits The Land 0 2 Young 6 , aspiring 6 of the Dead to unlock the mystery behind his fami, 5 ( ' lyâ&#x20AC;&#x2122;s generations-old ban on music. Starring Antho6 ny Gonzalez, Gael Garcia Bernal, and Benjamin Bratt. $ 1 7 ( (See washingtoncitypaper.com for venue informa5 1 2 ( / tion) 2 * 5 ( 6 the diSaSter artiSt James Franco stars as film2 6 Tommy Wiseau in this comedy about the makmaker . of 7 the $ terrible / ( yet cult classic film The Room. Coing 6 =Dave , Franco 7 starring and Alison Brie. (See washingtoncitypaper.com 2 8 & + for venue information) % 5J. iSrael, , 2 eSq. Denzel Washington stars roman - ( 7attorney 6 as idealistic Roman Israel, who finds himself in a chaotic situation that puts his activism to the test. Co-starring Colin Farrell and Carmen Ejogo. (See washingtoncitypaper.com for venue information)

Across

1 Theyâ&#x20AC;&#x2122;ve got all the answers 5 Catching a bit more Zâ&#x20AC;&#x2122;s 9 Spot for a lavalier mic 14 Little character on TV 15 Host before and after Oâ&#x20AC;&#x2122;Brien 16 French 101 school 17 Have-___(those in need) 18 Impartiality from your pops?

20 Bioinformatics strand 21 is.gd thing 22 Learning method 23 Pest near the Taj Mahal?

26 Broadcasted 27 Aconcagua, e.g.: Abbr.

28 Shock jock in a cowboy hat 30 Mouselike animal 33 Puts another candle on the cake 34 Money put on the table 38 Two things that you do at an Oasis concert?

41 Big Apple cops 42 Mangy dog

19 National cheer, for Godâ&#x20AC;&#x2122;s sake, weâ&#x20AC;&#x2122;d better hear at 3-Down 21 Ahead by a pair 24 Make changes 25 Green-___ (okayed) 29 Reach, as a goal 30 W-9 ID 31 â&#x20AC;&#x153;Yo, bro!â&#x20AC;?

32 Agent, briefly 33 Homecoming visitor 34 Emo motif 35 Neither partner 36 5K souvenir 37 Overhead rollers 39 Key with one sharp 40 Knightsâ&#x20AC;&#x2122; neighbors 44 Almost make it home 45 Things with heads and threads 46 Italicize 47 â&#x20AC;&#x153;M-m-m-m-mâ&#x20AC;?

48 One of the Rosenbergs 50 â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;ll doâ&#x20AC;?

51 Sky blue 52 Sanctioned 53 Moral stance 54 New Haven scholars 55 â&#x20AC;&#x153;In the vanities / No one wears panitiesâ&#x20AC;? poet 59 â&#x20AC;&#x153;TBHâ&#x20AC;?

60 Noun after a verb: Abbr.

43 D&D brutes 44 Magazine with a red border on its cover 45 â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re drowning hereâ&#x20AC;?

46 Outboard motor locale 49 Crime novel?

54 High spirits 56 Oneâ&#x20AC;&#x2122;s better halfâ&#x20AC;&#x2122;s title: Abbr.

57 Popped thing 58 Kudos for some BDSM activity?

60 Pained expression 61 Spookâ&#x20AC;&#x2122;s work 62 Northern duck 63 Con ___ (with vigor) 64 Vogue topic 65 Red-___ (cinnamon candies) 66 Butt Fumble team

Down

1 The Ox-Bow Incident star 2 In the thick of 3 2022 World Cup host 4 Cap and gown renters: Abbr.

5 Astronaut Buzz

6 Start of an old army slogan 7 Wrap things up 8 Place to get your kicks?

9 â&#x20AC;&#x153;I Dreamed a Dreamâ&#x20AC;? musical, for short 10 John Wilkes Booth was one 11 Presence of mind 12 Spanish national hero 13 Wine leftovers

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washingtoncitypaper.com december 1, 2017 41

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Contents: Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Auto/Wheels/Boat . . . . . . . . . . . 42 Buy, Sell, Trade . . . . . . . . . . . . . . . . . .

Marketplace . . . . . . . . . . . . . . . . . 42 Community . . . . . . . . . . . . . . . . . . 42 Employment . . . . . . . . . . . . . . . . . 42 Health/Mind . . . . . . . . . . . . . . . . . . . .

Body & Spirit . . . . . . . . . . . . . . . . . 42 Housing/Rentals . . . . . . . . . . . . . 42 Legal Notices . . . . . . . . . . . . . . . . 42 Music/Music Row . . . . . . . . . . . . . 42 Pets . . . . . . . . . FIND . . . . .YOUR . . . . OUTLET. . . . . . . 42 Real Estate . . . RELAX, . . . . . . .UNWIND, . . . . . . . . 42 REPEAT CLASSIFIEDS Shared HousingHEALTH/MIND, . . . . . . . . . . . .BODY . . 42 Services . . . . . . & . . SPIRIT . . . . . . . . . . . . . 42 http://www.washingtoncitypaper.com/

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Legals NOTICE IS HEREBY GIVEN THAT: TRAVISA OUTSOURCING, INC. (DISTRICT OF COLUMBIA DEPARTMENT OF CONSUMER AND REGULATORY AFFAIRS FILE NUMBER 271941) HAS DISSOLVED EFFECTIVE NOVEMBER 27, 2017 AND HAS FILED ARTICLES OF DISSOLUTION OF DOMESTIC FOR-PROFIT CORPORATION WITH THE DISTRICT OF COLUMBIA CORPORATIONS DIVISION A CLAIM AGAINST TRAVISA OUTSOURCING, INC. MUST INCLUDE THEOUTLET. NAME OF THE FIND YOUR DISSOLVED CORPORATION, RELAX, UNWIND, INCLUDE THE NAMEREPEAT OF THE CLAIMANT, INCLUDE A SUMMACLASSIFIEDS HEALTH/ RY OF THE FACTS SUPPORTING MIND, BODY SPIRIT THE CLAIM, AND&BE MAILED TO 1600 INTERNATIONAL DRIVE, http://www.washingtonSUITE 600, MCLEAN, VA 22102 citypaper.com/ ALL CLAIMS WILL BE BARRED UNLESS A PROCEEDING TO ENFORCE THE CLAIM IS COMMENCED WITH IN 3 YEARS OF PUBLICATION OF THIS NOTICE IN ACCORDANCE WITH SECTION 29-312.07 OF THE DISTRICT OF COLUMBIA ORGANIZATIONS ACT.

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Two Rivers PCS is soliciting proposals to provide project management services for a small construction project. For a copy of the RFP, please email procurement@ tworiverspcs.org. Deadline for submissions is December 6, 2017.

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Legals DC SCHOLARS PCS - REQUEST FOR PROPOSALS – Modular Contractor Services - DC Scholars Public Charter School solicits proposals for a modular contractor to provide professional management and construction services to construct a modular building to house four classrooms and one faculty offi ce suite. The Request for Proposals (RFP) specifi cations can be obtained on and after Monday, November 27, 2017 from Emily Stone via communityschools@dcscholars.org.

All questions should be sent in writing by e-mail. No phone calls regarding this RFP will be accepted. Bids must be received by 5:00 PM on Thursday, December 14, 2017 at DC Scholars Public Charter School, ATTN: Sharonda Mann, 5601 E. Capitol St. SE, Washington, DC 20019. Any bids not addressing all areas as outlined in the RFP specifi cations will not be considered.

Apartments for Rent FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

Must see! Spacious semi-furnished 1 BR/1 BA basement apt, Deanwood, $1200. Sep. entrance, W/W carpet, W/D, kitchen, fireplace near Blue Line/X9/ V2/V4. Shawnn 240-343-7173.

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Holiday Special- Two furnished rooms for short or long term rental ($900 and $800 per month) with access to W/D, WiFi, Kitchen, and Den. Utilities included. Best N.E. location along H St. Corridor. Call Eddie 202-744-9811 for info. or visit www.TheCurryEstate.com

Construction/Labor

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POWER DESIGN NOW HIRING ELECTRICAL APPRENTICES OF ALL SKILL LEVELS! about the position…

Do you love working with your hands? Are you interested in construction and in becoming an electrician?

Then the electrical apprentice position could be perfect for you! Electrical apprentices are able to earn a paycheck and full benefi ts while learning the trade through firsthand experience. what we’re looking for…

Motivated D.C. residents who want to learn the electrical trade and have a high school diploma or GED as well as reliable transportation. a little bit about us…

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412-521-5751 1200 miles. CLEAN. Just serviced. Comes with bike cover Garage/Yard/ and saddlebags. Asking $3000 Cash only.

Rummage/Estate Sales Call 202-417-1870 M-F between Flea Market every Fri-Sat 6-9PM, or weekends.

10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Can buy Bands/DJs for Hire in bulk. Contact 202-355-2068 or 301-772-3341 for details or if intrested in being a vendor.

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Events Christmas in Silver Spring Saturday, December 2, 2017 Veteran’s Plaza 9:00 a.m. to 7:00 p.m.

Come celebrate Christmas in the heart of Silver Spring at our Vendor Village on Veteran’s Plaza. There will be shopping, arts and crafts for kids, pictures with Santa, music and entertainment to spread holiday cheer and more.

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LOVE&LUSTCLASSIFIEDS Seeking relationShip Nothing better than listening to your partner play a musical instrument, particularly wind or brass, because it gives her pleasure and is her way of expressing herself. She is communicating, not performing, the best way she can! Lowbrass listener but openminded! I am: 60, ugly, Jewish, and work with words. lowbrasskisser@yahoo.com Frequently insightful, often charming, and sometimes outspoken 37 yo SWM ISO SJF <=37 who can come to Thanksgiving dinners and Passover seders. Work in international development but passionate about real estate, DC politics and latest Hirshhorn show. Prefer in person conversation or emails over texts, emojis, and snapchat.

Ambitious, vivacious 20-something female ISO smart, funny, chivalrous single man interested in something real. Me: always learning, happiest in the gym or a bookstore. You: outdoorsy, athletic, mature and confident who can hold his own with a dash of humility. Email curiousclassifier@gmail.com with a great date idea!

Bookish oenophile with heart of (rosé) gold iso like-minded disciple of the Arts and Letters to join him on wine-soaked (mis)adventures. Me: 28 y.o., M, oaky with hints of spice. You: W, 25-40 y.o., with a complex finish that lingers on the mind and tongue. Inquiries: beauoui.bowie@gmail.com Mature SB male, ISO, a women to date, etc. I live in NOVA, near Landmark. I am down to earth and laid back.I am no angel, but, I know how to treat a Queen. To hear more, please, RISK a response! Have a day that matters. Peace and love.

Spunky, passionate, single lady journo seeks warm, kind, intellectual gent for laughs and love. Me: Italian food addict, print newspaper reader, radio listener, picnic-with-wine lover, travel junkie. You: Strong but not silent, endlessly curious, shamelessly funny, over 30, ready for the one. Find me: heyred19@yahoo.com I want to know what love is; I want you to show me. Fuck Trump, Pence, Sessions, McConnell, Ryan et al., obviously. 40 y.o. SWM ISO SF. Not a crackpot. Gainfully employed. Shaved head, no facial hair, honest 5’7’’, 155. This could be fun. Why not? Serious inquiries only. wcp501c3@gmail.com.

BUBBLY, BUXOM, BOLD, BLONDE WF, 50’s, ISO partner in crime. You like dive bars, whiskey, old movies, and having me cook you breakfast on Sundays with the jazz permeating throughout. Graduates of Sarcasm & Wit University are welcomed! I’m a handful, come play with me!

GWM, mid-30s, ISO GM partner-in-crime, adventure, laughter and love. Bike rides, beers, burritos, buttsex, roller coasters, sportball, and concerts are all a good time. Our ideal fourth date: Lay around naked and make out to each other’s favorite music until we can’t anymore.

Similar-to-younger in age, similar interests preferred.Wcppersonals@ kennethdegraff.com Queer toppish foppish femme adjective-collector with epistolary prowess seeks (un)gentlemanly fox with swagger and strong cocktail game for mutually grand gestures, sumptuous feasts and abundant mischief. Hot for curiosity, radical imagination, well-executed duets, storytelling, breakfast foods, salt-n-pepper hair. I make a mean second move. Find me at queer4fox@gmail.com.

Mature, petite woman still nurturing her wild side ISO a somewhat younger male who is funny, smart, and kind with a bit of a dark side himself. You would not guess my personal life based on my professional one. You, too? Love books, but don’t judge by covers? Call me! letsmeetsoon@yahoo.com ISO TRUE LOVE, OBVIOUSLY. Me: 31-y.o. woman, frequently has strong opinions and strong drinks, likes bikes. You: Clark Kent-type but with tattoos. Must be down for evening walks to creep on strangers’ dogs, chatting about both international affairs and Taylor Swift, playing an occasional board game. smokesignals@protonmail.com Single, athletic bookworm of 32 years seeks happy, fit woman with a taste for simple organic pleasures. Open to everything from a night out to building a family dynasty. Whatever we do, let’s have fun with it. Perfume makes me sneeze. Call me Mr. Conecuh; rhymes with “achhoo!” colusa.conecuh@gmail.com Ready to “joyfully participate in the sorrows of the world?” Europhile who loves arts, science and literature (but not science-fiction) looking for partner in museum exploration, live performances, day trips, cooking, hiking and other more sillier adventures. papercitydc@gmail.com

You: Sad, funny, oddball guy who does the right thing. Me: Kind, creative, responsible woman. Straightforward, sweet, and clearly uncool.

Despite my downbeat schtick, I’ve been through enough to have life in perspective as joy taking root. I enjoy helping people and believe in following that dream. How about you? shoelaces.wcp@gmail.com Diane Court ISO Lloyd Dobler. You will totally need to play music outside my bedroom window. (Not necessarily “In Your Eyes” but definitely something from the 80’s.) It’ll also help if you know how to properly use a semicolon and fiercely believe in lining waste baskets before using them. dianecourt85@gmail.com 26/F Looking for the Real Deal – Are you a: taco enthusiast, trivia master, N64 owner, movie lover, 9:30 Clubber, NHL/NCAA basketball fan, solid wedding +1, and 26-34/M interested in the same? If you didn’t vote for Trump, let’s grab a drink and have a meet cute cuter than Tinder. ShakiraAlbum8Track6@gmail.com Creative, conversational, intelligent, funny late 20s woman looking for a fellow creative type to hang out with me while I work on my many projects. An interest in cooking, dogs, good-bad pop music, and naps is appreciated. Let’s grab a drink and take in a concert, gallery show, or some nature. Email notontinder123@gmail.com.

The holiday season in D.C. is magical. There’s snow, one-of-a-kind monuments, amazing local shopping, sledding on Capitol Hill, and a few term-limited elves. We’re ISO a few DTE Airbnb guests to share our Brookland home and in the year-end fun. homesharinggetspersonal@gmail.com Sage, spirited vixen wants your company: let’s explore Rock Creek Park & DC ‘hoods, sip strong beverages, learn about the planet, dance to live music. Life is abundant! This nonprofit soul has a rock’n’roll heart; keen wit; fit, fab body. What’s on your playlist/stereo/turntable? Me=woman:You=man just2bclear wedantz@yahoo.com Harley, the fat cat. Your soft paws and nihilism set my heart on fire.

I long for your b****y attitude, your pointy ears, and your prolonged hatred to anything involving love and positivity. I love you, and I love your Instagram account at @harleythefat. Please be with me.

Goldchainam@gmail.com 60ish SWM ISO SWF who still likes to rock/knows how to roll. Take a chance. If you’re nice, smart, funny, a good person, attractive, not jaded or chained to a sofa, contact me. Pls still have a heart/not be afraid to use it. I know you’re out there somewhere. ltlrdtop@aol.com 63 year old single black female seeking a single white male between 55 and 65 who enjoys hand holding and still remember what it’s like to talk ona phone.I’m not interested in status just don’t be a phony and please be single. Scorpiospencer1954@yahoo.com

Seeking SeX Strapping lad. STRAIGHT. ISO driven, curvaceous Latina willing to ponder impending mortality whilst taste testing various unknown peppers. Serious inquiries only - please email pfeffermann6969@gmail.com Hate being cliché but...Divorced guy (one kid, college-aged) to get back into it all. Just looking to get some sex reps in--out of practice!

Your pleasure, esp via oral, is paramount. I’m youngish looking and feeling 50, professional, sane, discreet, 5’7 160. You: 30s, non-flakey 20’s, or youthful 40s, somewhat-HWP. wdcfuntimes@gmail.com Married White Male 61 seeks sensual woman of any age, race, body type or marital status for occasional carefree safe sane and very secret erotic daytime trysts. Let’s create some warm memories without any regrets and get home in time for supper. Photo sent on request. dc_secret_tryst@yahoo.com

Seeking FrienDShip Single ebony man, ISO, casual relationship, for adult encounter(s).

Not seeking, L.T.R., at this time. I will not play a game, with your emotions. I will respect you, at all times. FYI: I like to cuddle, etc. U know what to do, if u want to have an initial conversation. krisykremeunites@gmail.com Welcome to DC! Airbnb gave us the opportunity to host people from all over the world and offer a real local experience. We would be happy to have you at our home! homesharinggetspersonal@gmail.com

Older, but most definitely wiser SWF ISO older, but young at heart SWM for friendship, event plus one, concerts and possibly more.

Someone that still loves dancing in the aisles at classic rock concerts preferred. If you are so inclined, you should email me. freespiritforever2017@gmail.com 11/3 You were proudly eating from a Krispy Kreme fundraising box en route to the Farragut North Metro Station. Some of the best friendships are built around sugar, rebelling against the calorie count every once in a while, and watching episodes of The Good Place. Join me.

WANTED: Lovers of local news! Email newsletter seeks devoted readers ready to be informed, provoked and engaged by rockin’ links, including succinctly summarized news and exciting events, delivered every weekday at 7:30 am to their inbox. Weirdos welcome, locals loved. Subscribe at 730dc.com. read730dc@gmail.com LOOKING FOR ITHACA. MCM 2017. Halfway point. You, natural beauty. Glasses. “1st 26.2” on the back of your shirt. We talked running 1st marathon, kids and phones, your hometown. You stopped.

Knee hurt. I kept going. Said “See you at the finish line” (Not too bright). I’m still waiting. Thefirewemake@gmail.com

perSon to perSon It’s only been two months, and I’m so lucky to be married to you.

Looking forward to the adventures (and misadventures) ahead of us.

Love, your squash.

This one’s for my husband. Cut your hair and I’ll jump your bones. foxlikeschicken@gmail.com Seger rules!

This city is catastrophic and crisp. The smell of the Red Room and the chaleur from the patio bar shared with small dogs and rats make for seasons you wish would linger. I hope we don’t finish with a whimper, what a shame to lose hazy afternoons with friends.

TO MY BFF: I love you even though you have a cat. Remember when we used to go to Phase 1 before it closed? I miss that place so much (obviously I’m talking about the one in Eastern Market, not Dupont).

Anyway, let’s watch Riverdale with your girlfriend this weekend. bdhooton@gmail.com Hey gorgeous! I’m writing this from a couch in America’s Meatiest City, thinking about our many falls in the District. DC’s got nothing on Chicago’s hot dogs, but damned if it got our hearts perpetually (and, to be fair, most of our stomachs). Love you!

“i SaW YoU” Our eyes met on the Greenline on 10/16 6pmish, caught you staring 1st. you had dark hair and stunning eyes. I had dark hair, beard. We smiled,said hello when you got off at Mt.VernonSq. kept locking eyes as you went up the escalator and iwas on the metro. coffee? carrcarr034@gmail.com I saw you at 22nd and P. You were scribbling furiously. “This woman has something to say,” I thought, and I peeked at your notebook. You had written “Shut up, shut up, shut up,” over and over and over. “This woman is very strange,” I thought. Now we are married.

You had floppy brown hair and glasses, and always wore corduroys and a t-shirt. I saw you in a college class in 2003. I saw you again recently, and you still looked the same. You want to get hamburgers and a drink? janelynx@gmail.com 2123 Rayburn, 12/9/91. You: Super cute, very short hair, no longer an intern. Me: Stupidly looking for someone else at the party. Want to get together for fun, romance, adventure, two beautiful daughters, and a lifetime of love? 2123rhob@gmail.com

Seeking other Hosting now. Whether you stay 1 night or 1 month, lets create an amazing experience together. I’ll share my love of the city. Also providing a comfortable bed and space. Make your trip to D.C. more than you could have ever imagined with Airbnb. homesharinggetspersonal@gmail.com Funky garden apartment seeking travelers looking for a different vibe in one of DC’s hippest neighborhoods. Equally funky owners using Airbnb to fund cookies, renovations, vintage motorcycles, and time with their dogs. Stay in Columbia Heights and return with a truly unique experience instead of the same old photos. homesharinggetspersonal@gmail.com George Washington(‘s hipster twin) Slept Here! This downtown business-class accommodation is minutes from the National Mall or the White House. Modern furniture with funky art, it also has “buried treasure” throughout to promote a sense of discovery on your vacation. Upscale, upbeat, and unbeatable! homesharinggetspersonal@ gmail.com Go to washingtoncitypaper.com/love to learn more about these ads.

washingtoncitypaper.com December 1, 2017 43

AMPLE S .

P I S .

S H OP

December 9 - 10, 2017 Washington, DC Convention Center

Chef Demos

Guy Fieri

Tasting Events

José Andrés

Culinary Classes Book Signings

Carla Hall

Beer, Wine and Spirits Garden

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