Washington City Paper (December 15, 2017)

CITYPAPER Washington

Free Volume 37, No. 50 WashiNgtoNCityPaPer.Com DeC. 15-21, 2017

housing: luxury teNaNts hate short-term reNtals 7 district line: busker blues iN ChiNatoWN 8 arts: the nutcracker, baCkstage 27

Art of the State D.C.’s prospects for statehood have rarely looked bleaker on Capitol Hill, so the battle is moving away from the District—in hopes it will return with a newfound fury. P. 12

By J.F. Meils

Photographs by Darrow Montgomery

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

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

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Flosstradamus .....................Th 28 Can’t Feel My Face: 2010s Dance Party with DJs Will Eastman & Ozker with visuals by Kylos ...............F 29

JANUARY

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

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

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The Infamous Stringdusters ......................Sa 20

Max Raabe & Palast Orchester ...................APR 11

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Calexico w/ Ryley Walker ...............APR 27

w/ The Stray Birds ................... JAN 26 & 27

Sucker For Love ........................ FEB 10

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MØ & Cashmere Cat w/ Darius ....................................Tu 23 Tennis w/ Overcoats ..................W 24 Big Head Todd & The Monsters w/ Luther Dickinson ..................Th 25 Frankie Ballard .......................F 26 STEEZ PROMO PRESENTS

Manic Focus and Minnesota .....................Sa 27 Enter Shikari w/ Single Mothers & Milk Teeth ..Su 28 Black Rebel Motorcycle Club w/ Night Beats .............................M 29 Kimbra w/ Arc Iris ....................Tu 30 Typhoon w/ Bad Bad Hats .........W 31

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Shamir w/ Partner .........................F DEC 15 herMajesty & Honest Haloway w/ Greenland ................................Sa JAN 13 Alex Aiono w/ Trinidad Cardona ........... Sa 20 Cuco + Helado Negro 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? w/ Open Mike Eagle ........................F 9 Anti-Flag & Stray From The Path .. Sa 10 Wylder ................................................ Sa 17 MAGIC GIANT w/ The Brevet .............. Su 18 MAKO .................................................. Sa 24 Gabrielle Aplin w/ John Splithoff ...... Su 25 Missio w/ Welshly Arms ...................F MAR 2 Joywave ............................................... Sa 3 Ella Vos ................................................. M 5

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Passion Pit ................................Tu 9 Cracker and Camper Van Beethoven ....Th 11 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 BoomBox ..................................F 19

Greensky Bluegrass w/ Billy Strings Ticket included with purchase of tickets to

2/3 Greensky Bluegrass @ The Anthem .F 2 STEEZ PROMO PRESENTS

Emancipator Ensemble ......Sa 3 J. Roddy Walston and The Business ...................................Th 8 COIN w/ The Aces ......................Sa 10 Múm ..........................................Su 11 Sleigh Bells w/ Sunflower Bean ......................W 14

MANY MORE SHOWS ON SALE!

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Rob Bell w/ Peter Rollins ............. MAR 27

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INSIDE

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D.C.’s prospects for statehood have rarely looked bleaker on Capitol Hill, so the battle is moving away from the District—in hopes it will return with a newfound fury.

By J.F. Meils Photographs by Darrow Montgomery

4 ChAtter

Arts

distriCt Line

27 In the Land of Sweets: For The Washington Ballet’s Nutcracker, the journey from rehearsal to performance is a wild world of beautiful Christmas commotion.

28 Curtain Calls: Ritzel on Theater J’s The Last Night of Ballyhoo and Klimek on Round House Theatre’s The Book of Will 30 Short Subjects: Cohen on Star Wars: The Last Jedi and Zilberman on Call Me By Your Name 31 Discography: Dispatches from our annual holiday music column, The Sleigher

7 Housing Complex: Tenants of a high-end apartment building in Logan Circle endure disruptive short-term guests.

8 The Busk Stops Here: Residents and tenants rage against street performers while asking D.C. Council to strengthen noise ordinances.

9 Unobstructed View 10 Indie in D.C. 11 Savage Love

food 16 Light Fare: These D.C. restaurants have fun with their lighting schemes all year long.

16 Hangover Helper: Succotash’s chocolate ganache waffle and bananas 16 The ’Wiching Hour: The Tavern at RARE’s fried bologna “muffaletta” 25 Fully Seasoned: Career servers who stay at a single restaurant for decades weather changing administrations and gastronomic trends.

Winter Session begins Jan. 8th

City List 32 City Lights: Explore legendary Mexican modernist Rufino Tamayo’s work at the Smithsonian American Art Museum on Wednesday.

32 Music 35 Theater 37 Film

38 CLAssifieds 39 Crossword

washingtoncitypaper.com december 15, 2017 3

CHATTER

Washington City Podcast

In which we inform print readers of our podcast

Darrow MontgoMery

According to the data gods, City Paper’s print readers and online readers are two substantially different groups, with little overlap between them. This column appears in the print paper every Thursday and shows up online at around the same time.

But this week we devote it to our print-only readers, who may not know that City Paper launched a podcast. It’s called Washington City Podcast, and you can find all of the episodes at washingtoncitypaper.com/podcast. Most episodes feature a 20-minute conversation with a person whose perspective can illuminate some aspect (or many aspects) of life in the District. Staffer Will Warren, who triples as City Paper’s social media editor and copy editor, hosts and edits the podcast.

Our first episode was with D.C.’s 14-term congressional delegate Eleanor Holmes Norton. In the second episode, Arts Editor Matt Cohen interviewed musician Brother Ah, who once played the flute for a bird at the National Zoo who was having trouble laying an egg.

“This is SO good. Brother Ah is a legend around here and this pod is a great audio landscape and interview all around,” tweeted @clintonyates. “Tremendous musician and steward of the culture and good dude all around.”

In our most recent episode we review the new holiday songs of 2017, song samples included. Find a few more of those reviews written out in this week’s paper, and the full collection online.

Only one commenter has written about the podcast on iTunes so far, but it was a comprehensive comment, so I’ll print it here: “If you live in D.C., and you love it, this is the podcast for you. (And if you don’t live in D.C. and have a misguided sense of our city as “Washington” and “The Beltway,” instead of a place where real people live, this is a great podcast for you to know the real D.C.) The folks at Washington City Paper have always taken a fresh and interesting and affectionate look at our city and the people who *actually* live here, and their podcast follows that same insightful and affectionate tradition. Even if you think you know D.C., you will learn something new,” writes News junkie in dc.

—Alexa Mills Department of Corrections: Last week Jeffrey Anderson’s story, “Packed In,” stated that Rock Creek International School was a special needs school. It was a dual-language immersion school.

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DistrictLine Dread and Breakfast Tenants at a high-end apartment building in Logan Circle endure disruptive short-term guests.

Amy is fed up with her misery-inducing neighbors. Except her name isn’t really Amy, and her neighbors rarely stay long.

“Airbnb-holes, that’s what I call them now,” she says.

Amy is a tenant at 1301 Thomas Circle, a luxury building on M Street NW. Rents there currently start at more than $2,500 a month for a one bedroom and rise to several thousand dollars a month for coveted three-bedrooms.

Garage parking comes at an extra fee.

For regular leaseholders like Amy, steep rents yield various amenities, including modern appliances, high ceilings, large windows, a rooftop swimming pool, a 24-hour fitness center, and a game room. The pet-friendly building attracts young tenants and is located within walking distance of downtown and thriving nightlife.

But some of Amy’s neighbors pay more than she does, on a daily basis, for basically the same benefits. She says so many people cycle in and out of a few units on her floor every week that it’s difficult to keep track of who actually lives there. Recently, keyless-entry systems were installed on their front doors.

Amy often sees strangers with luggage roaming the building.

Some of the guests appear to be foreigners, not speaking much English. Others are families or groups who throw parties, crowd the building’s common areas, and make residents feel unsafe. “Sometimes it’s a bunch of guys staring at me as I go into my apartment,” says Amy. “One time I opened the door to my apartment, and there was a half-smoked cigarette on the floor outside.”

Amy has lived at the Logan Circle property for more than a year. Citing fear of reprisal from her landlord, Colorado-based real estate investment trust UDR, she requested anonymity to openly discuss the activity that’s been going on since she moved there and spiked last spring and summer. She says it shows no signs of ending and she’s ready to leave.

According to both Amy and another tenant speaking on background for the same reasons, as well as the property’s Yelp! page, sev-

housing complex

eral online listings, and emails from two UDR employees obtained by City Paper, somewhere between 10 and 30 apartments in the building are being used for short-term rentals.

This has led to security risks, noise, and slow service from building staff, tenants say.

“Originally, when we moved in, they said, ‘Oh, we have a small amount of corporate housing in the building, people are staying for business purposes,’” recalls a male renter who’s resided at 1301 Thomas Circle for about a year. “It wasn’t really explained to us that this was a vacation tourism, hotel-type operation.

Our lobby, on any given Saturday or Sunday, looks like a hotel.”

Darrow Montgomery

By Andrew Giambrone

In the past, that’s resulted in long-term tenants having to wait for 15 or 20 minutes just to pick up packages while front desk staff attend to short-term visitors. Tenants add that the building’s staff frequently seem more solicitous to the guests than to them.

Those guests allegedly make excessive noise, too. “For the past 3 months I have lay awake 3-4 nights per week due to blasting music and parties going on in the apartments around me,” Yelp! reviewer Aisling B. wrote

last July. “I have made so many complaints to management and leasing and no one has ever even responded to me aside from a late night security man who tries to help at 3am when I call to ask him to do something about the noise.”

Amy says she has also complained about the situation in formal surveys, but received no reply to her concerns. “We pay so much in rent already,” she says. “I feel like one of the things we’re paying for is safety—and luxury or whatever—and it’s just not worth it.”

Building managers and UDR’s corporate office did not respond to requests for comment.

The company owns 26 properties in the D.C. area, including five in the District, per UDR’s website.

Another one of its D.C. buildings nearby, Andover House, has shortterm rentals too, a listing on Stay Alfred, a Washington (state)-based startup that provides furnished apartments, shows.

Founded in 2011, Stay Alfred rents apartments and buildings in U.S. downtown areas, offering cleaning, booking, and customer service to standardize stays, according to tech site GeekWire.

In the case of 1301 Thomas Circle, the landlord enters into lease agreements with Stay Alfred, which in turn rents out certain apartments, emails from UDR staffers suggest.

UDR itself doesn’t advertise on short-term rental sites, but corporate clients with which it contracts do.

City Paper found several listings for apartments in the building on Stay Alfred, Airbnb, and VRBO. Stays for dates in January ranged in price from $150 a night to $1,150 a night,

depending on the size of the unit and not including taxes and fees. Per an Airbnb listing, one weeklong stay in a three-bedroom would cost about $10,000 in total; a Stay Alfred listing touts the building’s “prestigious address” and it being in one of D.C.’s “most effervescent neighborhoods.”

This is something that vexes the tenants, who aren’t allowed to sublease or use their units for short-term rentals under their own lease agreements with UDR. “If we can’t do it, why can they do it?” says Amy, who adds that short-term rentals may be inflating overall rents in the building.

Whether services like Airbnb make housing less affordable in the aggregate by removing some units from long-term use is a question that both economists and lawmakers are debating.

The D.C. Council is still weighing legislation proposed last January by Ward 5 Councilmember Kenyan McDuffie that would require hosts to register short-term rental listings with the District. It would also restrict both the number and length of bookings made through Airbnb and its ilk.

McDuffie says the bill would curb abuses by commercial enterprises that effectively operate unlicensed hotels, yet would preserve homeowners’ ability to generate income. Shortterm rental companies have cast the proposal as draconian, harmful, and misguided.

Housing activists have uncovered a few rent-controlled buildings in D.C. being used for short-term rentals, and D.C. Attorney General Karl Racine sued California firm Ginosi for illegal ones. The parties partially settled the case in the fall, freeing up dozens of units to long-term city residents.

1301 Thomas Circle is not a rent-controlled building, and it’s unclear whether the business activity occurring there is unlawful. Regulators can penalize individuals and companies for unlicensed rental activity, but, because enforcement is driven by complaints, it’s inconsistent.

A spokesman for the District’s Department of Consumer and Regulatory Affairs, which oversees short-term rental licensing and would be charged with additional responsibilities under McDuffie’s bill, confirmed that a division within the agency “was assigned to this matter last week and an investigation is pending.”

In the meantime, tenants plagued by random visitors await intervention, or for their leases to run out.

“We’ve had friends who have lived in this building, and they all have the same story,” the male tenant says. “We just don’t want people to experience the pain and agony we’ve experienced.”

CP

washingtoncitypaper.com december 15, 2017 7

DistrictLinE

The Busk Stops Here

Darrow Montgomery

Residents and tenants rage against street performers while asking D.C. Council to strengthen noise ordinances.

By Caroline Jones On a recent Tuesday afternoon at the intersection of 7th and H streets NW, the loudest noise came from Metrobuses idling at a red light. A group of 20 or so riders made small talk as they prepared to board an eastbound X2 bus. A set of bucket drums sat at the 7th and G streets NW entrance to the Gallery Place/Chinatown Metro station, but the only person performing at that corner was Fisher Yang (known on YouTube as “Metro Asian Hymn Singing Guy”), who sang Christmas carols and played the trumpet. Though the sound of his music carries down the block, Yang, who performs outside

the station every Tuesday at lunchtime, says neither neighbors nor city officials have ever asked him to decrease his volume.

Riders entering and exiting the Metro on this particular day, in what is the heart of downtown D.C., barely noticed him as he sang “It Came Upon a Midnight Clear.”

Those living in the Residences at Gallery Place, a condominium building at 777 7th Street NW, tell a different story. According to several tenants, music from street performers is so loud that it causes their furniture to shake and is audible in upper level units. At a Dec. 11 public roundtable organized by the D.C. Council Committee on Housing and Neighborhood Revitalization,

8 december 15, 2017 washingtoncitypaper.com

residents, office building tenants, property managers, and restaurant workers made one point very clear: They want street performers dealt with immediately.

Residents are specifically distressed over issues with amplified noise, as well as instruments that reverberate loudly, like drums, trumpets, and trombones.

At issue is the Noise Control Act, which states that “A noise shall not be considered a noise disturbance if it is made during noncommercial public speaking during the daytime and does not exceed 80 decibels inside the nearest occupied residence in districts zoned R-1A, R-1B, R-2, R-3, or R-4.” Chinatown and Farragut Square aren’t zoned as residential areas, so street performers deal with fewer limitations and often play until evening noise restrictions take effect at 9 p.m. (Criminal penalties for making unreasonably loud noises under D.C.’s disorderly conduct law are enforced beginning at 10 p.m.)

The District’s Department of Consumer and Regulatory Affairs monitors noise disturbances, but according to the offended parties few DCRA officials are inclined to enforce the ordinance, especially after they leave the office at 5 p.m. Nighttime enforcement is the responsibility of the Metropolitan Police Department, but those who testified admitted that calling 911 to report loud noise was too extreme a reaction.

Members of Advisory Neighborhood Commission 2C, which covers the majority of downtown, invited At-Large Councilmember Anita Bonds, who chairs the Committee on Housing and Neighborhood Revitalization, to listen to the upsetting sounds at the Residences at Gallery Place. Bonds was so moved by what she heard that she invited impacted community members to share their experiences at the roundtable also attended by Ward 3 Councilmember Mary Cheh, Ward 2 Councilmember Jack Evans, and Council Chairman Phil Mendelson.

For more than three hours, individuals shared stories about how the music impacted their daily lives. David Mitchell, who lives at 777 7th Street NW, uses a wheelchair to get around, as does his visually impaired daughter. According to Mitchell, the noise makes it difficult for her to use voiceover software. “It’s more of a public health issue than a noise nuisance issue,” he said of the “frenetic dancing and karaoke singing” he frequently witnesses.

Other 7th Street NW residents worried about hearing issues and increased anxiety.

Howard Marks claimed that the music has made his tinnitus (the medical term for ringing in the ears) worse. Marks, a retired federal employee who earns a pension and makes additional income as an energy consultant, says that even after installing $5,000 worth of noise insulating windows, the sound still impacts his ability to do work. “Who in gov-

ernment is going to protect my health and my ability to earn an income as a senior citizen?” he asked the sympathetic councilmembers.

Concerns about the ability to work were echoed by other residents, who feel embarrassed having to explain the sound to colleagues when working from home. Office workers say they experience similar situations near Farragut Square. Evans, who mentioned multiple times during the proceedings that he was a member of a law firm in the neighborhood, recounted his own experience with a busker who, years ago, played the theme from The Flintstones outside the office daily. Real estate agents who lease space in these neighborhoods told the councilmembers that they’re having trouble filling units, and those who already lease property in buildings near busking hotspots described breaking leases and searching for space in quieter areas.

A submitted testimony on behalf of George Washington University Hospital made the most compelling and succinct case for changing the busking rules. The entrance to the Foggy Bottom Metro station, where musicians regularly perform, abuts the south side of the hospital, which houses the intensive care, oncology, and cardiac units, and the sound levels adversely impact staff and patients.

No buskers testified at the roundtable, and the only witness who expressed any concern about a new law was John Boardman, the executive secretary-treasurer of UNITE HERE! Local 25, a union representing the District’s hotel workers. Union actions are protected under the first amendment but Boardman, who approves of the existing noise regulations, expressed concern that new rules would interfere with the performers’ rights to free speech. Cheh’s take on the first amendment was simpler. “At some point, someone’s going to sue us [over this],” she announced. “So what?”

D.C.’s daytime population is more than 1,000,000, but the problem for the testifying residents is not noise in general—it’s a specific type of noise this group of predominantly older Caucasian people have a problem with.

A packet of supplemental materials submitted to the Council and distributed at the roundtable includes photos and video of buskers, the majority of whom are people of color. Response to a photo of the roundtable shared on Twitter was swift. “Qwhite a crowd,” wrote Jessica Raven, executive director of Collective Action for Safe Spaces. Black Lives Matter DC, in a comment attached to Raven’s tweet, wrote: “No one is keeping them here, move out, quickly and permanently.”

When Bonds asked community members to describe the buskers, they declined to give specifics. Their multimedia presentation, however, suggests that they are most offended by the go-go bands, brass players, and bucket drummers who create the soundtrack of D.C.’s streets.

CP

UNOBSTRUCTED

VIEW

Let Me Rename Every Major D.C. Sports Team

By Matt Terl I keep thInkIng about the Capital City GoGo, and how much I love it.

Capital City Go-Go is the brand-new, not-yetdebuted NBA G League affiliate of the Washington Wizards. (The G League is the latest name for the NBA’s minor league, formerly the NBA Development League. The “G” moniker makes more sense in wordmark form, where the G is clearly lifted from corporate sponsor Gatorade.)

I don’t love the team, because there is no team yet. But, stupid as this sounds, I love the marketing and branding exercise. Monumental Sports & Entertainment, which will run this team (along with the Wizards, Mystics, Caps, et al.), has gone out of its way to build its entire campaign around things genuinely integral to the District.

It’s rare that you read quotes from a VP-level marketing brandbot and find yourself nodding along, but that’s where I found myself during this rollout. The talking points were focused on growing the profile of D.C.’s native go-go music and the neighborhood that’s home to the team’s forthcoming arena and practice facility. It’s brandspeak, of course, but at least it’s brandspeak with a heart and a location and an identity.

Even beyond the specific local pride triggers, I love a team name that sounds like a singular noun—the Miami Heat or the Utah Jazz or the Chicago Fire. And I love a team’s official location being something other than the actual name of its city or state (even if the Golden State Warriors is the only other modern example I can think of. Maybe the New England Patriots, if you stretch, or the Tampa Bay Buccaneers, who are repping the body of water.)

Which got me thinking about the other major sports teams in town, and how all of their names need to change. The ones that aren’t derogatory are boring, and the derogatory one has no direct relevance to, well, anything. So I’ve tried to fix them all.

If we’re willing to set aside questions of offensiveness, the NBA team is clearly the worst of the bunch. Wizards has always been a boring, anodyne name—the anti-Bullets. Abe Pollin had the best intentions in the world in making that change, but took it a bit too far.

The other finalists for the name at the time— Express, Stallions, Dragons, and, memorably, Sea Dogs—were all better options. Sea Dogs is stupid, but at least it’s stupid in a bizarre, in-

comprehensible way. And Express has that singular noun sound that I’m chasing.

But I’m not going with any of those. Instead, I’m compromising what I really want to do, which is go back to Bullets, and combining it with the singular noun format. That removes the shooting spree overtones and honors Pollin’s renaming wish while not totally chucking a really good name. And instead of the generic “Washington,” let’s go with the specific neighborhood that the arena disrupted and/or revitalized and/or sits in. The basketball team should now be the Chinatown Bullet.

The hockey team isn’t nearly so bad off, but they too would benefit from being a singular noun. (Everything would benefit from being a singular noun, even though it would drive copy desks across the nation crazy.) So let’s make the Capitals the Capitol. And if we’re going to do that, I kinda love the hubris created by using the building’s full name as your team name: The Washington Capitals basically declare themselves America’s team (NHL edition) and become the U.S. Capitol. (Everyone will still call them the Caps anyhow.)

The Nats are another one where there’s nothing inherently wrong with the name, it’s just not as good as it should’ve been. When baseball was coming back to D.C., there was a strong push to call the team the Homestead Grays, reviving the name of a team from the Negro leagues that played in D.C. That would’ve been a great moniker, and I think we should keep Grays. (It’s not singular, but the odd pluralizing of Gray has a similar syntactic effect, at least to me.) But the Homestead part referred to Homestead, Pennsylvania, and we don’t need any of that. Let’s again drill down to the neighborhood level and call them the Navy Yard Grays.

Which brings us to the football team. Their place name is easy, if uninteresting: With roots in D.C., a stadium in Maryland, and training facilities and offices in Virginia, there’s really only one possibility. And their singular noun is easy, too: Forever mired and bogged down in turmoil, they’re obviously going to be the DMV Swamp. (The fact that “DMV” also calls to mind the mind-crushing bureaucracy of the Department of Motor Vehicles is a bonus.)

See? Was that so hard? Now implement those changes across four multi-million dollar organizations and our pro teams will sound almost as cool as our minor-league basketball squad that doesn’t even exist yet.

CP washingtoncitypaper.com december 15, 2017 9

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by Katie Stack, comes in 2 sizes, 14” for $189 and 16” for $199. Stitch & Rivet, 716 Monroe St. NE, Studio #24. shopstitchandrivet.com

Kaarin Vembar

DECEMBER

Indie in D.C. is a new monthly feature on independent makers and retailers throughout the District. Here we talk with owner and maker Katie Stack about her business, Stitch & Rivet, and the creation of her Crossbody Zipper Tote. Readers voted Stack Best Local Crafter in City Paper in 2011, 2015, 2016, and 2017.

Where do you make the bags?

We make all of our bags here in Washington, D.C. in the Brookland neighborhood. We have a 600-square-foot studio. Right now there are four of us who work here. We make all of our pieces here in the shop.

What materials did you use for your Crossbody Zipper Tote?

It’s made out of waxed canvas on the exterior. It’s a number 10 waxed canvas. Canvas is graded by a number system, and the lower the number the heavier the canvas. A number 10 waxed canvas is 18 ounces. The interior is cotton twill.

Why did you make the bag out of waxed canvas?

So it is water resistant in case there is snow, slush, or rain.

Where do you source the waxed canvas?

It comes from a finishing house in New Jersey that has been in business since during the Civil War. They import greige goods from Asia, which means the fabric is woven in Asia and then they do the dyeing and finishing in the United States.

How do you make the Crossbody Tote?

I design them, so I start with a sketch on paper.

I figure out what we are going to make and the dimensions of the product. Then I convert it into a flat pattern on something that is called oak board or oak tag. (It’s the material that a manila folder is made out of.) It makes a fairly durable pattern. I convert that into a flat pattern, which is what my background is in—converting flat drawings into patterns. We lay it out on the fabric and it’s cut with either scissors or a rotating razor blade called a rotary cutter. Then it’s stitched in the shop on one of our industrial sewing machines. Once it is all stitched together we rivet in the handles and make the crossbody strap and get it ready for its new home.

You rivet in the handles, as in “Stitch and Rivet?”

Yes! The handles are riveted, as in Stitch and Rivet.

10 december 15, 2017 washingtoncitypaper.com

Why did you decide to design this type of product?

It is the newest version of a bag we’ve been making for about five years. Originally we called it the Commuter Tote. We made a version of it last year, 2016, and it had a leather bottom. We had a hard time sourcing that leather continuously. It has been a product that has changed over the years and this is the latest iteration and, in my opinion, the best iteration.

Why was sourcing the leather difficult in 2016?

That was part of the leather that, when we initially ordered, the company told us that it was American made, American tanned, American leather. Then when we got the hides the backside was stamped “Made in Brazil.” It was actually not American made. The leather was in and out of stock, and I didn’t love buying something from a company that lied to me about their product.

Why did you want to make a commuter bag?

We wanted a commuter bag because D.C. is a commuter city. We wanted it to have a zipper. It needed to have easy pockets for your coffee container or water bottle. People wanted to stash a phone or a Metro pass that they could get to quickly. That’s how the pocket orientation was designed. These pockets are big enough to hold a big bottle of water or a togo coffee cup. We wanted short handles so if

you’re getting on or off public transit and you didn’t have time to throw the cross body strap around you, you could just grab it and go.

How long does it take you to make a bag?

We batch-make our bags. We usually batch make them either four or six at a time. A batch of four bags will take one person two days to make. A batch of six will take two people usually one day to make. It depends on how much other work we have going on in the shop. We will try to do all of our cutting one day and all of our sewing the next day and we will cut multiple things at the same time. You have to clear off the tables to lay out your space.

Can you explain how your studio is the place you work and a retail space?

Our workshop is split into two thirds workspace, where we produce our pieces, and one third retail space where we sell our items and the work of about a dozen other local artisans.

It’s very much like an old fashioned business where the purchase space is in the front and the workspace is in the back. That’s how dresses, clothes, and accessories were made for centuries. Now it’s totally separate in most places.

Here there is no “in the back.” We are the “in the back.” It’s funny because people will ask, “Do you have any more of this in the back?”

And I’m like, “Here’s the back. We have all the raw materials. We can make you one. It will take two weeks.”

—Kaarin Vembar

SAVAGELOVE As a 36-year-old straight woman with autism, I am often misidentified as lesbian because my social signaling must read as masculine. I am not bothered by this. However, it is annoying when someone who should know better thinks I would hide it if I were LGBTQ. I’m very direct and honest— sometimes to my detriment—and the idea that I would hide something so fundamental about myself is abhorrent to me. I don’t consider myself disabled; I am different than most people but not broken. But as a person with a diagnosed “disability” that includes an inability to accurately read and display social cues, I know that a person’s perception of your sexual orientation is definitely affected by social signaling. I enjoy your podcast and I feel like I am educating myself about how neurotypical people think. But I wish there was as good a source of advice for people with autism spectrum disorder (ASD). I have been searching, but a lot of the advice for people with ASD is written by people who are not on the spectrum and focuses on passing for neurotypical.

—Not Disabled, Not Lesbian, Not Typical

I shared your letter with Steve Silberman, the award-winning author of the New York Times best seller NeuroTribes: The Legacy of Autism and the Future of Neurodiversity, NDNLNT. I really have nothing to add to his response— your question is outside my supposed areas of quasi-expertise—so I’m going to let Steve take it from here.

“I’m not surprised to hear that NDNLNT is more annoyed by people thinking she’s in the closet than by them misidentifying her as gay.

In my experience, a passionate concern for social justice—and compassion for other stigmatized and marginalized people—is so common among folks on the spectrum that it’s practically diagnostic. Furthermore, there seems to be an interesting overlap between being autistic and having a nonstandard gender identity— whether you define yourself as gay, bi, trans, straight but not cis, or nonbinary.

“My autistic friends share NDNLNT’s concern about the lack of good resources for autistic people who want to learn more about the nuances of sex, dating, and gender identity. As she points out, many of the advice books written specifically for people on the spectrum take the approach that the route to success in this arena involves acting as much like a neurotypical person as possible, which just adds stress to an already stressful situation. They also tend to be tediously heteronormative and drearily vanilla-centric.

“But there are exceptions. My autistic friends recommend Life and Love: Positive Strategies for Autistic Adults by Zosia Zaks, The Aspie Girl’s Guide to Being Safe with Men by Debi Brown, and the anthology What Every Autistic Girl Wishes Her Parents Knew edited by Emily Paige Ballou, Kristina Thomas, and Sha-

ron daVanport. While not autism-specific, The Ultimate Guide to Sex and Disability also comes highly recommended. My favorite autism blog, Thinking Person’s Guide to Autism, runs frank and fascinating pieces like ‘Autism and Orgasm.’ Another place to look for useful advice is in presentations by autistic self-advocates like Lindsey Nebeker, Stephen Mark Shore, and Amy Gravino (whose TEDx talk ‘Why Autism Is Sexier Than You Think It Is’ is on YouTube).”

Dan here: Thank you so much, Steve. And to everyone else: There’s more about Steve and his work at his website (stevesilberman. com), and I strongly recommend following him on Twitter (@stevesilberman), where he daily battles Republicanism, ignorance, and hatred. (I’m sorry, was that redundant?)

—Dan Savage

I don’t like being hugged by strangers. I would hate being humped by a random perv on the train.

My fiancé and I are getting straight-married this summer. My fiancé’s best man is in a polyamorous relationship—which is not the problem.

The issue is that we like only one of his boyfriends. Our best man moved in with the boyfriend we like two years ago. The other boyfriend is new (six months), younger, and immature.

Whenever we’ve seen the three of them, his new boyfriend was fighting with one of them. I don’t want our best man to feel like we are being rude in excluding his new partner, but I don’t want there to be drama for our best man at our wedding.

—Being Rude Isn’t Dat Easy Hmm. A new addition to a poly relationship who creates drama and makes close friends of the original pair uncomfortable? I’d put the odds of their third being in the picture six months from now at zero. So this is a problem that will most likely solve itself. But you could always ask your friend what he would like you to do. You’re not worried about the new boyfriend ruining your wedding, BRIDE, you’re worried about him ruining the day for your best man. So ask your best man what would be worse—the new boyfriend being excluded (and your best man incurring his wrath at home) or the new boyfriend being included (and your best man having to put up with his bullshit at the wedding). Then +1 or +2 accordingly.

—DS I’m an attractive 30-year-old woman. Recently, I was stuck in a packed subway car. I squeezed in next to the best-looking strap-hanger I could find, faced him like we were slow-dancing, pressed

my tits into him, and straddled his leg. We were so close, my head was over his shoulder—I could feel an electrical charge running through his body— and we stayed that way until I got to my stop.

Upon parting, I whispered, “You’re very attractive.” And he whispered back, “So are you.” I’ve pulled this on crowded trains a few other times.

They’re my favorite erotic memories, and it sure seemed like the guys enjoyed these experiences. But Charlie Rose thought he was “exploring shared feelings.” So I wanted to ask: Am I a groper?

—Tiresome Reality Arrogates Intimate Nearness

Yup. Some people would say the obvious response—the obvious way to open your eyes to what’s so wrong about your actions—would be to ask, “If a dude did this to a woman on a public conveyance, would that be okay?” But a woman seeking out the hottest guy on the subway and pressing her tits into his chest and straddling his leg exists in an entirely different context than a man doing the same to a woman. As I wrote recently on my blog in the Savage Love Letter of the Day: “Men don’t move through their lives deflecting near-constant unwanted sexual attention, we aren’t subjected to epidemic levels of sexual violence, and consequently we don’t live with the daily fear that we could be the victims of sexual violence at any time and in any place.” So a man on the receiving end of your behavior— even a man who felt annoyed, offended, or threatened—is going to experience your actions very differently than a woman subjected to the same actions by a man. A man is unlikely to feel threatened; a woman is unlikely to feel anything else.

While the men you’ve done this to seemed to enjoy it—and we only have your word to go on—that doesn’t make your subway perving okay. There are definitely men out there, TRAIN, who would be upset and/or angered by your actions. Me, for instance—and not (just) because I’m gay. (I don’t like being hugged by strangers. I would hate being humped by a random perv on the train.) There are also men out there who have been the victims of sexual violence—far, far fewer men than women, of course, but you can’t tell by looking at a guy whether he’d be traumatized by your opportunistic attentions. Even if your hump-dar (like gaydar, but for humping) was perfect and you never did this to a man who didn’t enjoy it, you’re normalizing sexual assault on subways and buses, TRAIN, thereby making these spaces less safe for women than they already are. Knock it the fuck off.

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

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Art of the State 12 december 15, 2017 washingtoncitypaper.com

lack of statehood affects people’s lives,” explains Shuff, who mentioned D.C. veterans and parolees as two vulnerable groups who suffer without federal voting rights. “And that’s what we’re going to start talking more about,” added Shuff.

Rep. Jamie Raskin, D-Md., one of the many co-sponsors of Norton’s statehood bill, cited another example at a recent House hearing for a bill that would allow people with concealed-carry gun permits from any state to use them in every state. D.C has been a frequent battleground over gun rights in Congress, with the District often serving as a kind of policy laboratory, or worse, a place to make political statements.

In introducing an amendment that would exempt D.C. from the law, Raskin said: “They [D.C.] have no voting representation in the House or in the Senate. So, unlike the rest of us, they do not even get to vote ‘No’

D.C.’s prospects for statehood have rarely looked bleaker on Capitol Hill, so the battle is moving away from the District—in hopes it will return with a newfound fury.

By J.F. Meils

It wOuld be easy to blame Trump, who won a whopping 4 percent of D.C.’s vote in 2016, for the District’s grimmer-than-usual prospects for statehood.

But in 2009 Democrats were exactly where Republicans are now and Congress didn’t stampede to make D.C. the 51st state, even when Obama slapped “Taxation Without Representation” tags on the presidential limo.

“Statehood is going to come when D.C. makes it come,” says D.C. Del. Eleanor Holmes Norton, the District’s voteless representative on the Hill for almost three decades. “No member of the House or Senate is powerful enough. No president—ask Barack Obama— is powerful enough to make it happen.”

For those in need of a refresher, there are precisely three ways the District can become a state: by an amendment to the Constitution, by Congress passing a D.C. statehood bill, or by petitioning Congress for admission to the union.

So the District can hold all the statehood referendums it wants, but to actually become the 51st state it will likely happen or not in the slippery hallways of Capitol Hill. And a few outward-looking statehood strategies are beginning to emerge, all of them designed to press the issue in Congress by putting it on the national and international stage.

“There was a time in D.C. when their ability to perform, to operate their government, was nothing that they or we could be proud of,” says Sen. Tom Carper, D-Del., sponsor of the Senate version of D.C.’s latest statehood legislation. “That has changed dramatically.

The way their finances are run, the strength of the economy, the investments they are making in infrastructure are frankly better than some states right now. I think there’s a realization [in Congress] that they have their act together. That as much as anything is going to change attitudes.”

Norton is doing her part by gathering 141 cosponsors for her statehood bill in the House to Carper’s 20 in the Senate—all of them Democrats—though the legislation probably won’t see a vote in either chamber anytime soon.

And therein lies the impetus behind D.C.’s burgeoning statehood strategy—to take the

Photographs by Darrow Montgomery

Bo Shuff fight beyond the District as way to bring it back home with more teeth. Because if reluctant members of Congress are who you must influence, the quickest way to get their attention is to threaten their re-election. And the only group that can truly wield that cudgel is their constituents. Who may or may not give a shit about statehood for D.C., if they have any opinion at all.

One key factOr linking the reimagined statehood efforts underway is how they all attempt to elevate the issue outside the District.

“The majority of Americans don’t know about this issue and I think once they do, they move in our direction,” says Bo Shuff, executive director of DC Vote and Mayor Muriel

Bowser’s 2014 campaign manager. “There are no value-based arguments against statehood, only political ones.”

Given Trump’s ability to stoke energy on the left, the time would appear ripe to hitch the statehood wagon to the national progressive agenda. And that step appears underway, led

by Shuff and DC Vote, who are modeling their revised approach in part on lessons learned from the marriage equality movement.

Shuff, who worked on the issue for five years, says gay marriage and LGBT proponents ultimately learned to stop pushing stats and start showing impacts, meaning: people.

He believes the same approach will work for statehood.

“There are actual stories out there that the

on this new national concealed carry regime…”

Organizations with a nationwide focus are framing the issue in similar, albeit broader terms.

“What we have in D.C. is the worst form of voter suppression—a total ban,” says Charles Chamberlain, the executive director of Democracy for America, the grassroots organization founded by Howard Dean during his 2004 presidential bid.

“If there is one thing we can do for democracy in America it is to expand voting rights across the board,” he added.

In addition to national organizations, Shuff ’s outreach includes various congressional groups, including the Progressive, Black,

washingtoncitypaper.com december 15, 2017 13

Hispanic, and LGBT Equality caucuses.

The idea, detailed in a statehood plan Shuff presented to the D.C. government in April, involves a number of strategies that begin with planting statehood so firmly on the agenda of the political left that it becomes a litmus test for Democrats, as the marriage equality movement did so successfully.

Then a targeted outreach operation, which has already begun, will systematically press the statehood issue in each of the 435 districts that make up the House of Representatives, ideally led by D.C. residents with personal connections to each of those districts.

The final two fronts would be economic and political, where you convince leaders in the economic realm that their interests will be better served by more power in the political realm, which would happen if the District had a voting delegation in Congress.

“They [DC Vote] bring the resources and the credibility that other groups don’t have,” says Keshini Ladduwahetty, chair of DC for Democracy. “We are now really speaking with a united voice, not just rhetorically. I don’t think we’ve had this kind of consensus since the 1990s.”

Though Shuff says he talks regularly with Council Chairman Phil Mendelson, DC Vote’s new approach on statehood is only somewhat shared by D.C.’s New Columbia Statehood Commission, the internecine body made up of the mayor, Mendelson, and the District’s three-person shadow delegation. Shadow representatives have no vote and, unlike delegates, are not seated in Congress.

“I think it’s time for us to push really hard on Capitol Hill,” says Michael D. Brown, D.C.’s more outspoken shadow senator. “This is an issue that can’t stand the light of day.”

“But the government in D.C. does absolutely nothing to support us,” he adds, referring to the portion of the District’s $925,000 annual budget for the official statehood commission, which includes all the funding for D.C.’s congressional shadow delegation, or about $223,000 annually. “They [the mayor and Council] are very parochial. They don’t want to share the power. God forbid something happens on the statehood front. They want to be the ones to bring it to the table.”

Before there can be squabbling over the spoils, however, the still-budding national strategy must flower. There is near-universal agreement now that victory equals statehood, not simply voting rights, but how to get there depends on who you ask. Virtually everyone says that pressuring members of Congress is essential, but all of them? Or just those from one party? One chamber?

Case in point is the approach by Mayor Bowser’s point person for statehood, senior advisor Beverly Perry, who described herself as “a kind of executive director” of the District’s statehood commission.

Perry recently announced a 10-state campaign aimed at luring mostly Republican senators to the cause.

“Since Jack Kemp died we have not had a Republican champion,” says Perry. “So we’re

Eleanor Holmes Norton

looking at places like Alaska. It was the last state to come in [to the union]. Most of their land is federally owned, so they know what federal domination looks like.”

Perry noted that Sen. Dan Sullivan, R-Alaska, ran for his seat in part because of federal land management issues. “I think he could be sympathetic,” says Perry, who also believes Alaska’s other senator, Lisa Murkowski, who went to Georgetown as an undergrad and owns a house in the District, could be swayed.

Beyond Alaska, the nine other states in Perry’s plan include Washington, New Mexico, Illinois, Indiana, Maine, New Hampshire, Georgia, South Carolina, and Arizona. When asked

by Mendelson how each state was chosen at a recent statehood commission meeting, Perry was squishy on the details but said the choices were made after “a major assessment” of each state’s congressional delegation and influential stakeholders.

It should be noted that Perry also championed a math-challenged, vote-cancelling statehood partnership with Puerto Rico as recently as last summer. The idea was that D.C.’s reliably Democrat votes would be balanced by reliably Republican ones from Puerto Rico.

But Puerto Rico has almost 3.5 million people to the District’s 670,000, so they would get four or five representatives to the District’s one, and their electorate is far more mixed than ours, so math. D.C.’s statehood delegation will nonetheless formally meet with Puerto Rico’s in early January.

“I’m kind of new to this dance,” Perry admits, before responding to the tensions that continue to exist on the commission related to funding. “They [the shadow delegation]

14 december 15, 2017 washingtoncitypaper.com

don’t send memos to the mayor or give reports of their activities, so in a way I don’t know how they could get an appropriation without any accountability, alignment, or oversight.”

She added that the problem might be a “structural fault.”

Perry’s office got between $800,000 and $900,000 this year in what was described as a “one-time” boost for statehood efforts, according to Mendelson’s office. The money will include funding for two new staff positions that will occupy what Perry called a “war room” where those staffers will execute her new statehood plan with a focus on social media and other outreach efforts aimed at legislators and organizations within the 10 targeted states.

In addition to lobbying potentially sympathetic senators, in-District tactics include a permanent statehood kiosk at the downtown convention center and pro-statehood signage aimed at the more than 20 million visitors who come to the District each year.

The statehood plan from DC Vote included a suggested budget of about $12 million over six years for the entire effort, which they recommended should not be overseen by the D.C. government. The fear is that statehood funding could then be withheld by Congress, which has the power to do so.

“Money changes momentum,” explains Shuff, who admits that he’d like DC Vote to get some of the funding he called for in his own plan. “We need someone to start the avalanche. I think the District has the ability to do that.”

With or without sufficient funds, D.C.’s

shadow delegation is pushing forward on its own, separate efforts. Like those from DC Vote and Perry, they are outward facing. Far outward.

Led by D.C.’s other shadow senator, Paul Strauss, the District was admitted to the Unrepresented Nations and Peoples Organization in 2015, the only jurisdiction in the western hemisphere to gain membership.

“At some point we as a nation are going to need to address this inequality at the national level,” says Strauss.

Franklin Garcia, D.C.’s sole shadow representative to the House, has approached the Organization of American States in an attempt to raise the issue to the hemispheric level. “If we are able to show the world that we’re not perfect, maybe our leaders nationally will try to correct that,” says Garcia. “Certainly the idea that you deny representation in a national legislature to 700,000 people—it’s something that needs to be looked at.”

Garcia has also liaised informally with Puerto Rico’s congressional delegation, which thus far has not signed on to D.C.’s congressional statehood bill.

Finally, you have another effort by Strauss, a PSA campaign called “51 stars,” which features actors like Hayden Panettiere, Esai Morales, and Rosario Dawson talking about statehood. A new spot with Dave Chappelle is forthcoming.

“Whether they are celebrities or activists from other movements, they get that D.C. statehood will advance the agenda of causes that might be progressive, might be more urban, certainly reflect more diversity, and so we have a natural constituency,” says Strauss.

d.c.’s legIslatIve ace in the hole is Eleanor Holmes Norton, the District’s non-voting delegate to the House of Representatives since 1990, who is unlikely to fumble the opportunity to push her statehood bill should the pressure campaigns taking shape beyond D.C. help her to force a vote in Congress.

“Whatever beefs people have with her, she has incredible influence in Congress for who she represents,” says Aaron Houston, a veteran lobbyist for issues including marijuana legalization. “All things being equal, I don’t know who else could come in and command the respect. I don’t think anyone could do that as well as Eleanor does.”

Norton turned 80 this year, and there have been whispers that it may be time for her to step aside. But for those not familiar with the clubby rules by which Congress works, that means D.C.’s next delegate will have to start at the back of the line in terms of seniority, experience, and in Norton’s case, gravitas.

Not to mention reputation. It’s a badly kept secret on the Hill that the last thing a young congressional staffer wants to be is the object of Norton’s ire. “This is a political body,” says Norton, about the reality of getting things done on the Hill. “Be ready for it. Come equipped to deal in it.”

Norton has displayed her readiness repeatedly over the years, most recently when the District’s marijuana legalization law came up for congressional approval.

In a brilliant legislative sleight of hand, Norton exploited a tiny but crucial flaw in a rider, or amendment, attached to an appropriations bill by Rep. Andy Harris, R-Md. His rider was intended to thwart the District’s pot legalization initiative in 2014. The procedural jujitsu gets complicated, but essentially Norton spotted a loophole in the rider that allowed D.C.’s pot law to squeak through, though not without significant restrictions.

When asked if she can pull the same rabbit out of a hat for statehood, Norton responded: “I can’t count on them [Republicans] always being dumb and not doing their homework.”

Norton’s long tenure also means that she’s been in the thick of every near-miss on statehood or voting rights going back 30-odd years.

That includes 2009, when D.C. had a chance to get a voting member in the House of Representatives by way of a bill conceived by thenRep. Thomas M. Davis III, a Republican from Virginia, and co-sponsored by Norton.

Davis’ proposal would’ve added a reliably Democratic House member for the District and a reliably Republican one from Utah, which had recently lost a seat from redistricting. The bill passed the House in 2007 with the help of more than 20 Republican votes, including one from Rep. Paul Ryan, R-Wis., now speaker of the house, and then-Rep. Mike Pence, R-Ind., now vice president.

When the bill reached the Senate, it required a supermajority of 60 votes—and came up three short.

Two years later, the same bill came before the Senate and was passed, but with a rider attached that would have gutted the District’s gun control laws. When the bill got back to

the House, Norton wasn’t able to get the gun language removed, so the bill never reached Obama’s desk.

“The city had a window to get it [voting rights in the House] done, but they turned it down because they didn’t want the gun language,” says Davis. “In retrospect, I think it was a bad decision, but that was the city’s decision.”

Davis also believes that Trump isn’t the impediment to statehood he might appear to be.

“I think in some ways Trump is more malleable on this issue. He’s less partisan and ideological than some,” says Davis. “Bashing him doesn’t help. But then he’s a hard guy not to bash given some of the constituency groups you have in the city.”

There was a time when Republicans regularly broke ranks and supported voting rights, even full statehood, for the District.

“I always like to remind people that Richard Nixon signed the Home Rule Act,” says Johnny Barnes, a local attorney who has a long history in statehood issues and was the former executive director of the ACLU’s D.C. chapter.

So-called “home rule” was passed in 1973 and allowed the District to elect a mayor and a city council for the first time.

In 1978, an amendment to add D.C. as a state cleared the Senate with 67 votes, 19 of which came from Republicans, including then-Sens. Bob Dole, R-Kan., and Strom Thurmond, R-S.C. But it was only ratified by 16 states, well shy of the 38 necessary to add it to the Constitution.

Among Republicans currently in Congress, Rep. Darrell Issa, R-Calif., who sits on the committee with the most power over the District— oversight and government reform—has been openly sympathetic to D.C.’s lack of budget autonomy.

Norton refers to the current chair of the oversight committee, Rep. Trey Gowdy, RS.C., as a good friend. “He has been nothing but forthcoming and friendly and fair to me,” Norton says.

But the effort to formally woo Republicans on statehood is not without its detractors.

“I really think they [Perry and the statehood commission] are barking up the wrong tree,” says Ladduwahetty, of DC for Democracy. “To think they’re going to get Republican support when the Republican platform was the most anti-D.C. platform to come out in years.”

But the current state of play on the Hill— read: all crazy, all the time—doesn’t necessarily mean anything, according to Norton.

“Maneuvering in the House and Senate is time oriented, moment oriented,” she explains. “If you have a strategy that is other than dynamic, which is to say capable of changing by the week, then you’ll never get something done [on the Hill] that is hard.”

And if unpredictable is the new normal in Congress, why not statehood now?

“I always tell people that Trump is making America great again because he’s forcing us to stand for our rights, forcing us to be strong in asserting our principles,” says Barnes. “And when the dust clears, issues like statehood will benefit from his antics.”

CP washingtoncitypaper.com december 15, 2017 15

DCFEED Grazer

Light Fare

By Stephanie Rudig Lighting design is an integral part of a restaurant experience—you’ve probably noticed when it’s too dim to read the menu or snap that crucial Instagram shot. But lighting doesn’t just have to be functional, it can also be playful and contribute to a restaurant’s ambiance. While many bars and restaurants are currently decked out in holiday lights, these spots keep things bright year-round.

Taylor Gourmet Multiple locations To complement the laid-back industrial feel of Taylor Gourmet’s stores, rows of drywall buckets provide illumination, as well as an interesting ceiling texture, at several of their locations.

The Fainting Goat 1330 U St. NW The eclectic, rustic-tinged decor at The Fainting Goat is full of surprises, like lampshades made from vintage phonographs. The Edit Lab design team found the phonograph horns on an antiquing excursion in Leesburg.

Primrose 3000 12th St. NE Forty-eight ostrich feathers bedeck each exquisite chandelier in the French-bistro inspired wine bar. Asked how they’re kept clean, Edit Lab studio partner Lauren Winter, who designed the space, jokes that like a feather duster, “They clean themselves!”

The Dish: Chocolate Ganache Waffle and Bananas Where to Get It: Succotash, 915 F St. NW; (202) 849-6933; succotashrestaurant.com Price: $9

There are pools of blackberry sauce and cream resting in the nooks and crannies of the waffle. Then, Lee surrounds

what we’ll eat next week: Meatloaf with Sriracha glaze, mashed potatoes, and morel mushroom gravy, $22, Unconventional Diner.

Excitement level: 4 out of 5.

’WichingHour

DC9 1940 9th St. NW Fittingly, the light fixtures at this favorite concert venue take a musical form. The first floor bar is lined with microphone lights, and the second floor features cymbal and drum lamps hanging from the ceiling.

The Sandwich: Fried Bologna “Muffaletta” Where: The Tavern at RARE, 1595 I St. NW Cost: $16

HangoverHelper

What It Is: When Chef Edward Lee created the chocolate ganache waffle, it seemed as if he was inspired by a Willy Wonka fever dream. What appears to be a burnt waffle is actually a mold of chocolate ganache icing that’s rich, creamy, and topped with an artist’s palette of sugar.

what we ate this week: Cheese spätzli with egg dumplings, Gruyère cheese, crispy onions, and a Swiss-imported cheese called Schabziger, $14, Stable.

Satisfaction level: 5 out of 5.

the dessert with mounds of gingerbread snap crumbs and Old Bay-spiced marshmallow fluff. But the real kicker is a pile of fresh blackberries and caramelized bananas, which add an extra layer of sweetness to an already over-thetop waffle.

16 december 15, 2017 washingtoncitypaper.com

Calico 50 Blagden Alley NW Thirty-four vintage “Gone With the Wind” oil lamps hang along an industrial armature above the bar in Calico.

The lamps got their nickname after they surged in popularity following the 1939 film.

Archipelago 1201 U St. NW While you get lit at this tiki bar, look up to see lamps made out of dried out blowfish. They glow yellow, red, and green.

Weird uncles trying to recreate tiki bars in their basements should take note, you can buy lamps like these on Etsy.

How it Tastes: The initial crunch of caramelized bananas melts instantly in your mouth under a blanket of chocolate ganache. Each new bite adds texture and flavor—whether it’s the gritty and spicy taste of gingerbread snap crumbs or the light and airy quality of the Old Bay marshmallow fluff. The dessert is sweet enough to balance out your habit of psychoanalyzing your drinking habit and miserable existence here on earth.

Why It Helps: This is no ordinary waffle.

It’s a sugar rush in an otherwise dark, lonely, and painful existence. For the supremely hungover (this author included), a decadent dose of chocolate ganache waffle is just what the doctor ordered.

—Tim Ebner

Stuffings: Fried bologna, olive veggie mix, melted cheese curds Bread: Rosemary focaccia Thickness: 2 inches Pros: Every bite of any sandwich that calls itself a muffaletta (even in quotes) must be salty and tangy. This new downtown steakhouse, imported from Wisconsin, delivers on that promise.

You’d think using fried bologna in place of the traditional mortadella would make this sandwich too artificial tasting, but this isn’t Oscar Mayer—the bologna has a more intense flavor and crisps nicely around the edges. The olive and vegetable salad has a pleasant funk, the melted cheese curds add another level of flavor, and the soft focaccia gives every bite an additional dose of herbs.

Cons: $16 is pretty pricey for a sandwich, even one this big. The salt quotient is also quite high, so have a lot of water on hand to wash it down.

Sloppiness level (1 to 5): 2.5. While the pillowy bread keeps the sandwich fillings contained, liquid from the bologna and the olive salad drips out of the sandwich and on to your hands and plate. Keep plenty of napkins nearby.

Overall score (1 to 5): 4. On paper, this sandwich seems all wrong. A bologna sandwich imitating one of New Orleans’ finest exports served at a downtown steakhouse? Please. But this loving interpretation of a muffuletta succeeds by putting flavorful ingredients on great bread and acknowledging up front that the sandwich isn’t meant to be an exact replica. It might seem more at home at a five-star sandwich shop, but it still tastes pretty good regardless of the surroundings.

—Caroline Jones

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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 15, 2017 17

4 0 + C O F F E E VA R I E TA L S B Y T H E P O U N D DRIP

ESPRESSO

POUR OVER

FRENCH PRESS ICED

NITRO

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:

2300 Rhode Island Avenue NE, Washington, DC 20018 202-733-2646 / zekescoffeedc.com

• 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.

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 18 december 15, 2017 washingtoncitypaper.com

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 15, 2017 19

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

20 december 15, 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

Fancy Seeing You Here #30, Dec 1(F)—Dec 7(Th) fancyseeingyouhere.com Grey Moggie Press #30, Dec 1(F)—Dec 7(Th) greymoggie.com Katharine Watson #42, Nov 24(F)—Dec 23(S) katharinewatson.com Miks Letterpress + #60, Nov 24(F)—Dec 3(Su) mikspress.com Miks Letterpress + #29, Dec 17(Su)—Dec 20(W) mikspress.com

Handmade Habitat #15, Dec 7(Th)—Dec 13(W) handmadehabitatliving.com Joyful Bath Co. #21, Nov 27(M)—Dec 12(T) joyfulbathco.com Maré Naturals #23, Dec 1(F)—Dec 3(Su) marenaturals.com Pure Palette #60, Nov 24(F)—Dec 3(Su) purepalette.etsy.com Pure Palette #29, Dec 17(Su)—Dec 20(W) purepalette.etsy.com

TEXTILES

PRINTMAKING

SOAPS AND CANDLES

BAMI Products #21, Nov 24(F)—Nov 26(Su) bamiproducts.net BAMI Products #21, Dec 13(W)—Dec 23(S) bamiproducts.net Coastal Home & Body #49, Nov 24(F)—Dec 23(S) coastalhomeandbody.com Geeda’s Hand Poured Candles #26, Dec 11(M)—Dec 14(Th) candlesbygeeda.com

Black Lab #59, Nov 27(M)—Nov 30(Th) FemalePowerProject.com Cherry Blossom Creative #14, Dec 6(W)—Dec 23(S) cherryblossomcreative.com EWBA #11, Nov 24(F)-Dec 23(S) ewba.net FaineBooks #26, Dec 5(T)—Dec 7(Th) fainebooks.com

Downtown Holiday Holiday Market Market Guide Guide Downtown

Janice’s Table #28, Nov 24(F)—Nov 27(M) janicetable.com Naked Decor #37, Nov 24(F)—Dec 23(S) nakeddecor.com

WOODWORKING Blue Ridge Cutting Board Company #31, Dec 7(Th)—Dec 23(S) facebook.com/ Tree-to-Art #57, Dec 9(S)—Dec 23(S) treetoart.com

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PURVEYORS OF FINE YARNS & GARMENTS FROM THE AMERICAN PLAINS BISON

with Craig Wallace as Scrooge

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by Charles Dickens; adapted by Michael Wilson; directed by Michael Baron Lead Sponsors:

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Season Sponsors: The Home Depot; Chevron

Photo of Craig Wallace by Scott Suchman.

SITE MAP

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).

9th St.

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

46

47

7th St.

Gallery Place/ Chinatown Metro

58 59 60 61 62 63 64

F St. washingtoncitypaper.com december 15, 2017 21

MUSIC SCHEDULE

The Market Stage presents a musical feast of more than 65 shows by some of the area’s best blues, rock, jazz, soul, country, world, and contemporary artists. And of course, it wouldn’t be a “holiday” market without some of your favorite seasonal standards. Check the daily performance schedule below, and find more information about all of the performers in the Musical Entertainment section of DowntownHolidayMarket.com

THURSDAY, DECEMBER 14 12:00 - 2:00 5:00 - 7:00

Patty Reese Afro Nuevo

TUESDAY, DECEMBER 19 12:00 - 2:00 5:00 - 7:00

Blues, Roots, Jazz Jazzy Pop Jugband Blues

WEDNESDAY, DECEMBER 20

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

Andra Faye & Scott Ballantine Flo Anito Snakehead Run

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

Capital Hearings Lilt Trio Caliente Andra Faye & Scott Ballantine Christylez Bacon Surf Jaguars Jim Stephanson The Lovejoy Group

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Dave Chappell & Dave Hartge Maureen Andary Clear Harmonies Carolers

THURSDAY, DECEMBER 21

Blues, Roots, Jazz Progressive Hip Hop Surf Rock

FRIDAY, DECEMBER 22

MONDAY, DECEMBER 18 12:00 - 2:00 5:00 - 7:00

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

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

Bruce Hutton Split String Soup

Acoustic Roots Latin Jazz

American Songbook Holiday, Jazz

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

Janna Audey & Rob Santos Ian Walters & Friends Gaye Adegbalola & John Freund Jonny Grave Project Natale The Sweater Set

Appalachian Folk, Blues Bluegrass

Roots Guitar Jazz, Pop A Cappella Hoiday Pop, Rock, Jazz Blues, Roots, Classics Acoustic Blues 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

Downtown Holiday Holiday Market Market Guide Guide Downtown

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

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washingtoncitypaper.com december 15, 2017 23

GO L CAL. This Season.

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www.ThinkLocalFirstDC.com 24 december 15, 2017 washingtoncitypaper.com

Downtown Holiday Market Guide

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DCFEED

In a survey of more than 40 bars, the Old Fashioned emerges as the most popular cocktail in D.C., followed by the Moscow Mule and vodka soda.

Fans of the third most popular drink can visit a vodka soda pop-up on the first floor of DC9 starting Dec. 18.

Fully Seasoned

Darrow Montgomery

Career servers who stay at a single restaurant for decades weather changing administrations and gastronomic trends.

By Laura Hayes Occidental server Lindly Haunani has a pet peeve. “I’ve had people Yelp when I was still waiting on them while their food was getting cold,” she says. She’ll ask, “Are you enjoying this?” “Oh yes,” they’ll respond, before going home to type something trivial on a review site. She remembers a time when customers gave waitstaff a chance to fix mistakes while they were still present.

Haunani started serving at Occidental in 1986, 18 years before Yelp existed. “It was my

Young & hungrY

first opportunity to work fine dining,” she says, adding that she was among the first women hired to work the floor of a local white tablecloth restaurant. Her original plan was to move on to The Palm or The Prime Rib, but she never left Occidental, which was founded in 1906 and is best known for its historical gravitas and hospitality.

“I’m proud of this restaurant—it’s a beautiful restaurant that’s been around for a long time,” Haunani says. She doesn’t mind that it’s not the hippest of establishments. “We’re not going to have Korean chicken wings and ramen.” Haunani also hasn’t moved on from the restaurant because she skirts change.

“I’ve had the same apartment for 17 years and the same boyfriend for 18 years, but also, the grass isn’t always greener on the other side,” she says. Haunani remembers when Mark Miller’s Red Sage opened downtown, luring numerous Occidental employees. “I think it’s a TD Bank now, so you just don’t know.”

During her 31-year tenure, Haunani has waited on George H.W. Bush, Bob Hope, Betty White, Arnold Schwarzenegger, John F. Kennedy Jr., and Quincy Jones, among others.

She is one of a handful of D.C. servers who has worked at the same restaurant for at least

a decade. They’re self-taught experts in recent fine dining history, food and drink trends, and even political parties. Their restaurants are control environments—the only thing that changes is the world around them.

These seasoned servers are anomalies in D.C., where restaurant owners are quick to vent about high staff turnover and new restaurants poaching employees. Talk to them, and you’ll learn that the job of a server is as challenging as it’s ever been.

Those taking orders have to contend with increased competition, pressure from social media, knowledgeable and demanding diners, and a litany of allergies and aversions. Then there are more extrinsic factors—the pendulum swing of political administrations, the dot-com boom, and the Great Recession.

Naji Neisi, who has worked at 701 Restaurant since 1998, and Jalal Hanouni, who has been at Central Michel Richard since the bistro opened in 2007, agree with Haunani that the advent of social media changed the industry. Chefs aren’t the only ones feeling the pressure from tweets and tags.

“You have to pay attention to details and everything has to be top notch,” Hanouni says.

He’s seen the king of Jordan and cabinet members come through the restaurant. “With social media, you can do it at the table. You used to have to go home and write a letter or something. It’s extra pressure.”

“With social media and bloggers, things are under a microscope,” Neisi echoes. He calls his section at 701 Restaurant the “magic kingdom” and once took care of former FBI Director Robert Mueller. “I don’t see him now, that’s the problem—he has a lot of stuff to do.”

He also waited on a table of former CIA directors. Like spies, Neisi says, “Everybody could be a food blogger or food writer with a phone in their hand because they can take pictures and record you.”

Neisi also points to competition. “When I came here, at night time I was warned not to go two blocks over to F Street,” he says. “Now it’s completely different.” His boss, restaurateur Ashok Bajaj, has even given himself a healthy dose of competition within the neighborhood by opening Rasika, nopa Kitchen + Bar, and Bibiana.

Finally, Neisi says customers have gotten more sophisticated. “They check and they ask and they demand more, and rightly so,” he says.

Evan Labb has worked at Evening Star Cafe in Alexandria for 13 years. He says he’s never considered leaving, even after he spilled 15 flutes of Champagne on someone.

washingtoncitypaper.com december 15, 2017 25

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Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

Fri & Sat, Dec. 15 & 16 at Midnight!

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THE MIDNIGHT CULT SENSATION!

26 december 15, 2017 washingtoncitypaper.com

DCFEED He couldn’t agree more with Neisi that diners’ deeper breadth of knowledge about food and drinks is a tectonic shift. “I remember countless times explaining what pork belly was,” Labb says. “Now the question is, ‘What are you brining the pork belly in?’”

Drink trends are tougher to master. “When I was in server training we went through unbelievable amounts of literature on wine,” Labb says. “We had to learn to pair every menu item up with wine around 2005.” Now he’s expected to do the same with cocktails, beer, and nonalcoholic drinks. “That’s a big increase in responsibility for a server to need to know—customers’ knowledge has gone through the roof.”

A trip to L’Auberge Chez Francois, located in Great Falls since 1976, presents a time warp. The family-run restaurant serves boudin blanc and baked Alaska in a dining room where the tables aren’t on top of each other and there’s no such thing as a “small plate.”

Pat Harding has been a server there since 1991. “I’ve seen infants that I now serve alcohol to,” he says. “I used to warm up baby bottles and now I open Champagne bottles.”

He’s noticed a march towards more casual dress. “People used to dress up,” he says.

Then the dot-com boom hit in the mid 90’s.

“You had all the high-tech business people from the area who would come in,” Harding explains. “They were traveling in and out of California—it was a little more casual and that continues to today.” It’s nice to see men in a jacket, but they’d never turn away a diner.

“There’s so much competition now you have to be open.” changing of theCC guard in the White file: The Adobe InDesign House also shifts the mood inside restaurants, especially those concentrated near 1600 Pennsylvania Avenue NW. Server Randy Cole has seen several presidential peaks and valleys in his 15-year career at Equinox. [if circled] “Republicans eat more, drink more, and spend more money,” Cole says, calling himself a geek when it comes to politics. “The Obamas were good for the food scene, but that was just the two of them dining. They were instrumental in getting the food scene to explode, but that’s all share plates and millennials.” Comparatively, he says, political bigwigs dining during a Republican administration come in droves, order bigger, bolder wines, and would light up cigars in the dining room if they could.

Equinox has long stood out for serving vegan cuisine in a fine dining setting, and Cole recognizes that as a plus because it’s a differentiator. However some culinary accommodation requests can be frustrating.

“I grew up as a kid where I ate everything,” he says. “This was the day when you didn’t hand-sanitize every couple of seconds.” Customers will ask for broccoli that’s been cooked

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on a grill that’s never been graced by meat.

“That’s a little much unless you have an allergy,” he says.

“I remember when no one could have butter,” says Haunani of Occidental. They wanted margarine instead. “I understand there are people who are gluten and dairy sensitive—certainly that can be accommodated.

But someone had me go through the whole menu about gluten-free and they ordered bread pudding for dessert because they were ‘saving up.’”

Nevertheless, both Haunani and Cole love their jobs. What keeps them and other veteran servers content is having regular customers. Regulars often request specific servers and over time build relationships that can evolve into friendships.

Giuseppe Racioppa has enjoyed a steady stream of repeat clientele since he started at Oceanaire in 2002. “I know people from all over,” he says. “People text me and ask me to make them a dinner reservation.” He’s off on weekends, but will come in if a regular requests him. Racioppa, who goes by Pino, epitomizes warm, professional service. “I come from a country where if we didn’t have the hospitality mindset, especially down in the southern part where I’m from, our economy would really suffer,” he says of his native Italy.

Racioppa, whose most cherished memory may be waiting on George Clooney, says the Great Recession had the biggest impact on the downtown seafood restaurant. “From 2002 to 2008 people would come in and use their corporate expense account freely,” he says. “The restaurant was packed every day for lunch and dinner. Now a lot of people come in and have a salad or sandwich with iced tea instead of a martini at lunch. Their needs are more about enjoying a good product than impressing whoever they brought in to dine with them.”

Though a number of job opportunities have presented themselves, Racioppa sticks with Oceanaire because, he says, if you remain at a single restaurant instead of churning and burning your way through eateries, you gain invaluable institutional knowledge. He’s already passed the torch to one of this three sons, Marco Racioppa.

Marco started as a busboy at Oceanaire before taking a hiatus. When he returned to D.C. he wanted to be a server. “He knew nothing,” Pino says. “‘Papa, what is a cabernet sauvignon?’ he’d ask. So I taught him the basics.” Now he’s the number one server at RPM Italian, and everybody asks for him, according to Pino. “You dedicate yourself a little bit every day and learn one thing at a time.”

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

CPArts

The Museum of Contemporary American Teenagers in Bethesda aptly captures the highs and lows of modern teendom. washingtoncitypaper.com/arts

In the Land of Sweets For The Washington Ballet’s Nutcracker, the journey from rehearsal to performance is a wild world of beautiful Christmas commotion.

Theo Kossenas

The first act party scene of The Washington Ballet’s Nutcracker

By Kayla Randall The chaos hiTs full throttle. Backstage, ballet master Michele Jimenez is informed that a child may have peed at center stage. Sure enough, there’s a puddle in the center of the stage. The littlest snow angels, clad in shimmering blue dresses with matching halos, are yelling at every dancer that passes by, “Good job breaking a leg!” and have to be shushed. Then, half of them go the wrong way and need to be ushered back together. The rats have run amok.

This is just the first act of Pyotr Ilyich Tchaikovsky’s famed 125-year-old holiday ballet, The Nutcracker, now playing at The Warner Theatre. For some, it is the only ballet they will ever see. Former Washington Ballet artistic director Septime Webre’s fast-paced version is tailored specially to the District, complete with butterfly and frontier girls, a Georgetown mansion, cherry blossoms, George Washington, and Frederick Douglass.

“The Nutcracker is a unique experience because in each production we have 80 to 100 children,” says current artistic di-

DANCE

rector and American Ballet Theatre icon Julie Kent. “When you have that amount of energy, you have such a cadre of people rushing back and forth. The kids love it.” Kent is a Nutcracker mom this year for the first time. Her 8-year-old daughter Josephine is in the opening party scene.

It’s hard to quantify the incredible work that goes into the Webre-choreographed production, which the Washington Ballet has been performing annually since 2004. It requires more bodies and more props than any other ballet the company puts on. And the work begins long before the show’s run. In early November, rehearsals commence at the company’s Cleveland Park office while men carry the massive stage props that crowd the halls to big trucks. Large cardboard boxes, one for an onstage puppet show and others for the story’s Rat King, are on their way to THEARC in Anacostia, where the first few shows will be held before the production hits the Warner Theatre in December.

The rehearsals are huge, each with more than 40 dancers varying in age and experience—but no small children—in a hot room filled with the smell of sweat. There, the company dancers soar. EunWon Lee and Brooklyn Mack, the Sugar Plum Fairy and the Cavalier, move splendidly across the floor. When leaping dancers nail their landings, their fellow

dancers snap, clap, and scream “yes!” at them.

Legendary ballerina and current company ballet master Elaine Kudo leads this particular rehearsal. She watches her dancers intensely, completely silent, like a falcon high in the sky, scanning for prey. She finds her prey in a young dancer, not turning correctly out of her arabesque in a group of fluttering butterfly girls. “You’re coming around trying to bend, but there’s no time,” she tells her.

Just outside on the patio, wardrobe supervisor Monica Leland begins her crucial job. She and two assistants dye more than 100 pairs of shoes in bright shades of silver, purple, orange, yellow, blue, and pink.

But this is the work that is almost peaceful, the calm before the coming onslaught of prop mishaps, wardrobe malfunctions, and the bustling swarms of bubbly children, snow angels and rats alike.

This year, during the marathon run of more than 30 shows, the company will use 5,000 pounds of dry ice and 100 pounds of pyrotechnics. Per each show, they use 21 gallons of paper and flame retardant snow (that staff sifts through before each show to remove dangerous stage hazards like hairpins and buttons), 135 light cues, 25 rail cues, five pyro cues, 210 costumes, and eight loads of laundry. And, out of the hundreds of children performing in the run, 34 sets of siblings.

A few weeks after rehearsal, it’s showtime at the Warner.

Dancers arrive backstage through a secret back alley entrance.

Giant cat, frog, rat, mouse, fox, and squirrel heads on shelves greet them warmly. There’s even an enormous smiling Humpty Dumpty. Bodies are everywhere, but this time it’s not as quiet as rehearsals. The children are here. They’ve descended upon the production, making their presence known.

Little fires begin immediately. Before the show, Clara’s grandfather, played by dancer Corey Landolt, is running around shirtless, in search of a piece of his costume. Later on, during the first act, his stuck-on mustache is falling off as he comes off stage. At the same time, a little girl says she heard something on her costume pop.

The company even has to wrangle a few stars for walk-on roles: ESPN host Tony Kornheiser, the Washington Nationals’ Ryan Zimmerman, and Congresswoman Eleanor Holmes Norton.

Somehow, with the guidance of excellent ballet masters like Jimenez and warrior wardrobe supervisors like Leland, it all comes together onstage.

“I have to go see if the rats did a good job,” Jimenez says. “Because if not,” she wags her pointer finger admonishingly. The two of them, along with the rest of the guiding staff, get everyone and everything under control backstage. Eventually.

Perhaps, that’s the true magic of The Nutcracker.

It’s all how you deal with it, Kent says. The artistic staff knows plenty will go wrong, but they overcome the challenges because the performers have devoted their lives to making this moment happen right here, right now for the audience. The annual holiday havoc will never stop. In her mind, every ballet company needs a Nutcracker.

“This is a holiday tradition and after Halloween, in our shopping malls you hear the Sugar Plum Fairy variation, you listen to that incredible score by Tchaikovsky,” Kent says. “It’s one of those ballets that has transcended high culture and is now part of popular culture, and it hits all the buttons for everyone, whether it’s the 3-year-old or the grandmother.”

CP washingtoncitypaper.com december 15, 2017 27

TheaTerCurtain Calls

Southern hoSpitality The Last Night of Ballyhoo

By Alfred Uhry Directed by Amber Paige McGinnis At Theater J to Dec. 31 Before there were cousins bickering over Judaism, unruly hair, and relationships in Bad Jews, there were cousins bickering over Judaism, unruly hair, and relationships in The Last Night of Ballyhoo.

The former play was a sell-out smash hit at Studio Theatre in 2014 and 2015, and has been performed throughout the world. It’s set, like so many other 21st century dramas, in a present-day New York apartment. Ballyhoo begins in 1930s Atlanta, and was commissioned to coincide with 1996 Summer Olympics. Alfred Uhry’s historic comedic drama may lack the combustible angst that’s become de rigueur in contemporary theater, but Ballyhoo did win a Tony Award for best play, and in Theater J’s enjoyable and gratifying production, the show holds up well.

Shayna Blass and Madeline Rose Burrows star as the unfortunately named cousins Lala and Sunny. Washington has a surfeit of talented 20-something actresses these days, so it’s lovely to see Blass and Burrows (who have played supporting characters at Studio and Signature) get top billing at Theater J. The play’s title refers to a holiday prom for the South’s Jewish elite, young people whose ancestors were bar mitzvahed before the Civil War. Excluded from the soiree are newer immigrants, the Jews from “East of the Elbe,” as Sunny’s mother Reba says. Or as Lala’s mother Beulah deems them, “the other kind.”

When Sunny is not up north at Wellesley, the four women live together on the fashionable, actual Atlanta street called Habersham Road.

(Uhry wrote the play in the aftermath of his proletariat hit Driving Miss Daisy, drawing on his own family lore.) As Ballyhoo opens, Lala is humming “The First Noel” off-key and trimming a tree that’s clearly visible through the set’s windows, and to audiences who may have walked in wondering, “A Christmas tree at Theater J? WTF?,” it’s Beulah, tartly played by Susan Rome,

who justifies the conifer’s presence with the first of many zingers.

As she tells her daughter, the tree looks lovely but take the star off because, “There are no stars on Jewish Christmas trees.”

A star would, of course, acknowledge that Jesus Christ was the Messiah.

Assimilation has clearly been key for this family’s social and financial well being. But it’s December of 1939, and things are about to change. Beulah’s brother Adolph (an endearing Sasha Olinick) hires Joe, a young Brooklyn-born salesman to be both his righthand man in the family business and also a potential gentleman caller for his nieces. Because Joe is an “other kind” guy from Brooklyn, Beulah is less than thrilled that both girls are smitten.

Uhry has not protested when Beulah is called a Jewish Amanda Wingfield, and like Laura Wingfield in Tennessee Williams’ classic, Lala dropped out of school. Instead of a glass menagerie, however, Lala has Scarlett O’Hara to keep her preoccupied. Why, she’s even writing her own Reconstruction radio drama! And as Blass’ character wistfully notes, Clark Gable is a mere five miles away the night Gone With the Wind premieres in Atlanta.

Posters from the film hang at the rear of Daniel Conway’s not-quite-naturalistic set.

Some costumes, hairstyles and props, however, give the show an unintended 1950s vibe. It takes Adolph looking up from his Atlanta Constitution and muttering about Hitler to remind viewers the action takes place before the United States entered World War II. For those unfamiliar with historic tensions between America’s Jewish populations, it’s horrifying to think that some were initially apathetic to the horror facing Eastern Europe’s Jews.

Beulah is certainly more concerned about getting her misfit daughter a date for the last night of Ballyhoo than the Blitzkrieg in Poland.

Joe chooses the Upton Sinclair-reading Sunny instead of Lala, prompting the rejected cousin to bemoan her Ashkenazi-looking large nose and out-of-control hair. Sunny, meanwhile, speaks dreamily of her date’s curly coif. Then she learns that embracing Joe will require more wholeheartedly embracing their shared faith.

The play’s final moments are almost shockingly saccharine, especially given the explosive endings we’ve become accustomed to seeing in shows like Bad Jews, which concludes with an onstage brawl and a gut punch. But after a year of watching so much unapologetic prejudice on the news—from President Trump, Richard Spencer, Roy Moore and other 2017 scions—there is something to be said for sitting in a theater and watching fictional characters learn their lessons, and learn to love one another.

—Rebecca J. Ritzel 1529 16th St. NW. $30–$69. (202) 777-3210. theaterj.org.

28 december 15, 2017 washingtoncitypaper.com

ShakeSpeare and Company The Book of Will

By Lauren Gunderson Directed by Ryan Rilette At Round House Theatre to Dec. 30 Say what you will about Shakespeare in Love, the 1998 Academy Award winner deserves to outlive its associations with Harvey Weinstein—who was credited with engineering the movie’s Best Picture upset over Saving Private Ryan, that year’s awards magnet, and its biggest hit. Shakespeare in Love’s original screenplay, co-written by Tom Stoppard, was adapted in 2014 as a stage play (by Billy Elliot screenwriter Lee Hall) that’s been performed by regional theaters all over the United States. And if one were to make a sequel called Shakespeare in the Ground, it would probably sound a lot like The Book of Will. Lauren Gunderson’s nimble, earnest, screen-ready comedy focuses on the efforts of the surviving members of his company The King’s Men to preserve his legacy and get the plays he wrote for their troupe into print.

Copyright law hadn’t yet been established in King James’ day. Bootleg transcriptions of these plays did brisk business among the part of the populace that could read. When actors John Heminges and Henry Condrell saw bastardized and incomplete “quarto” (pamphlet) versions of their departed friend’s work being peddled as the original master tapes, so to speak, they took it upon themselves (with help from their families) to assemble a comprehensive and dramaturgically sound compilation of Shakespeare’s plays, in a time when plays were not believed to warrant such venerable handling. Relying on the expertise of those who’d performed the plays and the scriveners who copied and recopied them, their goal was to produce a volume of which the author would have approved—and to beat inferior editions, diluted by the work of lesser playwrights, to market. Unprecedented in its ambition and its expense, their First Folio was published seven years after Shakespeare’s death.

So Gunderson’s play is to dramaturgy and 17th century publishing what Spotlight or The

Post are to journalism. It exhibits all the qualities that have made her the most-produced living American playwright of 2016—it’s a warm, inviting, not-especially-challenging comedy that makes the audience feel smart for liking it—and the qualities that have animated her several other plays about geniuses of centuries past, like the certainty that nearly every great man has been propped up by a great (or several great) woman. Mr. Heminges, for example, is seen to have accomplished his part in the great deed only though the support of his wife and daughter.

There’s a fun Who’s-on-First style bit about the fate of a play called, ahem, Love’s Labours Won, and a less successful recurring gag about Pericles. But the hit-rate is high.

There’s really no reason this shouldn’t be the movie it already feels like, and it’s tough to imagine Hollywood could improve upon Round House Theatre’s cast: Todd Scofield and Maboud Ebrahimzadeh as Misters Heminges and Condell, respectively, and a well-padded Mitchell Hébert in a dual role as star actor Richard Burbage—cursed to watch younger actors offer a more self-pitying interpretation of Hamlet than the one he played when the play was new—and star playwright Ben Jonson, who contributed the poem that opens the First Folio. (The double casting gives Hébert the unusual opportunity to eulogize himself.) Marni Penning, Kimberly Gilbert, and Katie Kleiger are all great fun as the spouses and daughter, respectively, who help piece together copies of the plays from various actors’ sides, and Michael Russotto plays the blind and unscrupulous publisher William Jaggard with the swagger of a sleazy ’70s concert promoter. Gilbert gets a wicked interlude as Emilia Bassano Lanier, likely the “Dark Lady” of Shakespeare’s sonnets, to whom Condell goes begging when his project runs into funding problems, and Brandon McCoy has a sensitive turn as Jaggard’s son, whose genuine appreciation for the work mitigates his dad’s mercenary zeal. Christopher Michael Richardson does yeoman’s work as the lowly scrivener whose contributions to the project prove essential.

It’s probably not fair to complain that elements of a play about the genesis of one of the very foundations of Western drama feel a little bit, you know, familiar, so I won’t. Here’s to the proto-dramatrugs who believed that there was only one Will, so there had to be a way.

—Chris Klimek 4545 East-West Highway, Bethesda. $45–$65.

(240) 644-1100. roundhousetheatre.org.

International th Saxophone Symposium January 12-13, 2018

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Soloists will include: Claude Delangle, Timothy McAllister, Navy Band Saxophone Quartet, Dale Underwood, Miguel Zenón George Mason University Center for the Arts Fairfax, Va.

DE A RA NE PA CH W P EL LA R BO Y B TU ND Y S D R MI IRE E K C

E TED DO B NA Y HU E

G OW N N AYI PL

E RV F CU O

“ONE OF THE YEAR’S

MOST BEAUTIFUL PERFORMANCES.”

— THE WASHINGTON POST

Family, a funeral, and an uncertain future—a gently comic play about the ties we use to bind ourselves to others.

202.332.3300 | STUDIOTHEATRE.ORG washingtoncitypaper.com december 15, 2017 29

FilmShort SubjectS

A Newer Hope Star Wars: The Last Jedi Directed by Rian Johnson

At the very least, writing about a new Star Wars film is a fraught exercise. Point out its flaws and fawning fanboys will come after you like wolves. Overpraise it and skeptics will label you a fawning fanboy, incapable of viewing a Star Wars film with a critical eye. Spoil anything about it and everyone will come for your head.

Bearing all that, here goes: Star Wars: The Last Jedi, the eighth installment in the iconic film series that started with 1977’s A New Hope, is nothing short of fantastic, a thrilling, thoughtful, and emotional story that continues the journey established in 2015’s The Force Awakens, with such gusto it nearly elevates writer/director Rian Johnson to the hero status achieved by many of the characters in the film.

As the horrid prequel trilogy showed, it’s quite easy to fuck up a Star Wars film. And J.J. Abrams demonstrated what a fine, if derivative and flawed, new Star Wars film looks like.

But Johnson elevates the highs of The Force Awakens—and of the entire Star Wars franchise altogether—with The Last Jedi, channeling the original’s message of hope, perseverance, and resistance with the kind of cinematic flair that makes both art-house cinephiles and action thrillseekers squirm with joy.

The Last Jedi picks up roughly right where The Force Awakens left off: The iconic opening crawl informs us that while the Resistance took out the evil First Order’s Death Staron-steroids super weapon, the planet-killing Starkiller Base, the baddies are still very much in control of the galaxy and hot on the trail of our heroes. In fact, when the film begins, the First Order is literally within striking distance of what’s left of the Resistance.

All that stands in their way from the resistance is… a single X-Wing fighter. It’s Poe Dameron (a cunning and often hilarious Oscar Isaac), the headstrong fighter pilot who’s set to take on the entire First Order on his own. Or so it seems. What follows is a chuckle-heavy ex-

change between Dameron and the First Order’s treacherous and dastardly General Hux (Domhnall Gleeson, clearly having a ball doing his best mustachetwirling villain schtick).

On top of everything aforementioned, The Last Jedi is also by far the funniest Star Wars saga.

The film roughly sticks to three main storylines that splinter off from that opening sequence, eventually converging in the film’s epic conclusion. The Resistance, led by General Leia Organa (a beaming Carrie Fisher, in one of her last on-screen appearances), can’t outrun The First Order. Resources are low and their ships are running on fumes. All hope seems lost for our heroes until Dameron hatches a secret scheme with the Stormtrooper-turned-Resistance fighter Finn (John Boyega) and a mechanic mourning the death of her sister, Rose Tico (Kelly Marie Tran, easily the best new character to enter the Star Wars canon) as a last-ditch effort to save The Resistance.

Meanwhile, Rey (Daisy Ridley), the star of the new franchise, has located the mythic Luke Skywalker (Mark Hamill, in a triumphant return to his most famous role) on a remote island at the edge of the galaxy. She wants the Jedi Master to teach her the ways of The Force and bring him back to his sister, Leia, to help defeat The First Order. But Luke is jaded and resistant, unwilling to face anyone after he let his nephew, Kylo Ren (Adam Driver, ever the brooding and moody villain, but not as annoyingly so as he was in The Force Awakens), be seduced by the Dark Side via the mysterious Supreme Leader Snoke (Andy Serkis, in full motion-capture regalia).

Without giving too much away, The Last Jedi is a film that shows what hope in the face of failure looks like. The Empire Strikes Back, the bleakest and best film of the original trilogy, is something of a spiritual older sibling of The Last Jedi. But even The Empire Strikes Back’s most desperate moments have nothing compared to what The Last Jedi has packed in its two-and-a-half-hour run time.

With a cinematic flare that recalls some of Akira Kurosawa’s most vivid films, Johnson expands Star Wars’ cinematic universe, introducing us to bold and beautiful new worlds for his characters to explore. There’s almost a childlike awe to the world that Johnson is playing in that spills out from behind his camera onto the screen. Each character in the film has a set purpose for being there, and each one’s purpose is in service of the larger story Johnson is telling.

But what’s most thrilling about The Last

30 december 15, 2017 washingtoncitypaper.com

Jedi is Johnson’s seamless blending of old and new Star Wars lore. Mark Hamill, Carrie Fisher, and the rest of the crew’s roles are by no means fan service, and the new characters Johnson introduces are sure to be as iconic as their predecessors. It’s a film whose primary message is finding hope in the most hopeless of times. That’s something I’m sure at least some of you can relate to.

—Matt Cohen Star Wars: The Last Jedi opens Friday in theaters everywhere.

Summer of Love Call Me By Your Name

Directed by Luca Guadagnino Around this time of year, many prestige films create a world that audiences are eager to leave. No one wants to spend more time than necessary in the Jim Crow South of Mudbound, or under the threat of Nazi annihilation in Darkest Hour. It is a rare treat to encounter a movie with a luxurious sense of place, and the coming-of-age romance Call Me By Your Name does exactly that. Directed by Luca Guadagnino and written by James Ivory, this film is set in picturesque northern Italy, creating a languid world that would be easy to get lost in. Like the lazy, late-summer days in which it takes place, the rush of the final minutes land with bittersweet wisdom, as if heartache is more certain than the changing season.

This is summer in 1983, long before smartphones, so the characters have no choice but to make their own fun. Elio (Timothée Chalamet) has no problem entertaining himself: At 17, he’s already an accomplished pianist and has the attention of all the girls in the small village where he lives. On top of English, he speaks French and Italian, suggesting comfort and ease in the idyll where he lives (Chalamet has no problems meeting the high demands of the multilingual, talented character).

Elio lives with his mother (Amira Casar) and father (Michael Stuhlbarg), an archeology professor, and the film begins with the arrival of a new houseguest. His name is Oliver (Armie Hammer), and he is a visiting scholar helping with the professor’s archeology projects. Elio is skeptical of Oliver: He is too brash, perhaps, or makes himself at home without the proper sense of deference. The two young men spend more time together, and their verbal sparring transitions have an additional, more sexual subtext. Their romance is tantalizing before they consummate it, and the film follows their relationship until it carries more meaning than either would care to admit.

James Ivory, one half of the producing/directing team Merchant-Ivory, adapted the screenplay from André Aciman’s novel while he was in his late eighties. At his advanced age, Ivory still internalizes the excitement, longing, and

fear of new love. He and Guadagnino, however, are in no rush for Elio and Oliver get together. Guadagnino prefers long takes, suggesting a leisurely environment and understated suspense to each flurry of physical contact.

We come to care about the characters because they are funny and guarded, while the cinematography by Sayombhu Mukdeeprom creates a “wish I was there” feel to the unforced drama. The light is oversaturated, and the sun-kissed hue gives Oliver and Elio’s bodies inviting, increasingly erotic contours. Early in the film, there is a scene where Hammer— at six foot five—dances to “Love My Way” by The Psychedelic Furs, and his clumsy limbs suggest dopey liberation. Elio observing Oliver is just as important: He does not know his place yet, so his guarded body language only suggests the passion that’s ready to burst.

Before most audiences have a chance to see Call Me By Your Name, there is already some controversy surrounding it. On one hand, the film centers on a sexual relationship between a teenage boy and a man in his early-twenties.

On the other, Ivory only wishes that the film was more sexual (apparently both Chalamet and Hammer had stipulations in their contracts preventing full frontal nudity). Both of these controversies ignore the emotional context of Elio and Oliver’s relationship, which is both consensual and intense beyond mere fucking.

The film leads to moments of aching, vulnerable trust. In the scene that gives the film it’s title, Elio calls Oliver “Elio,” and vice versa. These nicknames seem silly, until we take a moment to think about what they reveal: In Elio, Oliver sees the man he hopes he can become, while Oliver sees the limitless potential and freedom a younger man represents.

A lot of Call Me By Your Name has a hazy, meandering quality to it. In its final moments, as summer draws to a close, Ivory’s script and the performances shift into sharp focus. While Hammer strikes a convincing balance between confidence and melancholy, the film ultimately belongs to Chalamet and Stuhlbarg. Elio’s father gives a lengthy, tender monologue that gently acknowledges his son’s sexuality, but is about a lot more—the need for heartbreak, and how it is an essential component of a life well-lived.

Like many scenes of the film, the monologue is almost a fantasy: Most parents are not so empathetic and perceptive about their children.

Still, the father’s intuition is so confident and understated—developing dormantly as subtext—so Stuhlbarg’s pitch-perfect monologue comes from a genuine place of paternal love.

The film concludes on a long close-up of Chalamet. Elio does not say a word, nor does he have to, since Chalamet’s subtle facial tics summarize everything that the summer meant to Elio. This shot is a like a gift from the filmmakers: After such a singular time with Elio and Oliver, you may not be so rushed to let it end, either.

—Alan Zilberman Call Me By Your Name opens Friday at Landmark E Street Cinema and Bethesda Row Cinema.

MusicDiscography

the

THE SLEIGHER Our annual holiday music review column

SLEIGHER

the

AN EVENING WITH

BSTREETBAND THURSDAY DEC

21

YELLOW W/ THE LOVING PAUPERS FRIDAY DEC

22

VIRGINIA COALITION

W/ JUSTIN TRAWICK & THE COMMON GOOD

COME ON, COME ON: The man who once covered himself in blood for an album cover is embracing a different source of red—that of the nose of Rudolph—as part of a Spotify playlist that appears to be otherwise unlistenable. X’s “Rudolph” is EXACTLY what you might expect, from the MC’s hyped-up, adlib-accented performance to the big, major-key beat by producer Pat Gallo, aka Divine Bars. In short, it is hardly a sin to recreate a classic carol in the image of “Christmas In Hollis.”

WHAT’S THAT: There’s precedent for this bite of hard candy: In 2012 while visiting The Breakfast Club show on New York’s Power 105.1-FM, DMX improvised a version of the song, tapping out his own table-top beat. If you listen closely, there is joy in the sound of his chains clinking together. Since then things have been occasionally rough for X, but during this new 1:34 of yuletide, all is well. When he sings of the titular caribou going down in history “forever,” it’s easy to imagine the MC himself craving that kind of legacy.

CHEER FACTOR: 7/10. If Rudolph were a professional wrestler, this would be his entrance song.

—Joe Warminsky

of ’80s glam rock band Poison turned reality show personality, known for starring on Rock of Love, Rock of Love 2, and Rock of Love Bus, and for winning season three of The Celebrity Apprentice. And yes, he still loves and supports Donald Trump.

JINGLE ALL THE WAY: For his first-ever Christmas recording, Michaels picked a song heard at nearly every preschool holiday program: “Jingle Bells.” To make sure listeners know he’s a true rock ’n’ roller, he adds some cymbal crashes and an electric guitar solo.

It’s impossible to make the song interesting, however, and Michaels makes things worse by singing it all the way through twice on the two minute and 22 second track.

THE REASON FOR THE SEASON: Because this song is apparently not long enough already, Michaels adds a message of good tidings to the end. “Wishing you a Merry Christmas and a happy holidays, my friends,” he blandly blathers while committing two cardinal sins. He dares to use the controversial secular phrase “happy holidays” and precedes it with a singular article. Was there not enough time to record a corrected second take? This grammar geek says “Bah humbug!”

CHEER FACTOR: 0/10. “Jingle Bells” is a terrible song. Bret Michaels is a terrible singer who remains on friendly terms with the insane person currently occupying the White House.

The instrumentals sound fake as hell. I never want to hear this recording ever again.

—Caroline Jones Read and listen to all of our Sleigher coverage at washingtoncitypaper.com/arts.

@blackcatdc

DECEMBER SHOWS

FRI 15

TUES, DEC 26

CHRIS FLEMING

SOLD OUT HARRY & THE POTTERS’

YULE BALL 2017

FRI 15 BAH HUMBUG BURLESQUE & VARIETY FUNDRAISER SHOW SAT 16

SAT, DEC 23

HO HO WHO: Or rather, ho ho WHAT! It’s the Ruff Ryders rapper who needs no introduction, unless that introduction is a low canine growl. He’s the “Party Up” guy and one of the studs of Def Jam Vendetta, the one and only DMX.

www.blackcatdc.com

THU 14

DUBMARINE

DMX, “ruDolph Bret Michaels, the reDnose “Jingle Bells” reinDeer” HO HO WHO: Bret Michaels, the lead singer

1811 14TH ST NW

SAT 16

CHURCH NIGHT RIGHT ROUND

80S ALT POP DANCE PARTY

ROCK’N’SHOP

AN EVENING WITH

SUN 17

THE DEFINITIVE TRIBUTE TO THE

FRI 22 CUMTOWN LIVE PODCAST

LIVE AT THE FILLMORE:

ORIGINAL ALLMAN BROTHERS BAND WED, DEC 27

START MAKING SENSE

A TRIBUTE TO TALKING HEADS

W/ N.E.W. ATHENS

FRI 22

DARK & STORMY

SAT 23

THE OBSESSED

SAT 23

THURS, DEC 28

BEN WILLIAMS PRESENTS HIS 6TH ANNUAL BIRTHDAY BASH

A HOLIDAY MUSICAL EXTRAVAGANZA

SAT 30 SUN 31

W/ BEARCAT WILDCAT SAT, DEC 30

NIGHT I

SUN, DEC 31

NIGHT II

NEW ORLEANS SUSPECTS AND BONERAMA NEW YEAR’S EVE

BONERAMA AND NEW ORLEANS SUSPECTS SUN, DEC 31

NEW YEAR’S EVE CELEBRATION

DARKER SIDE OF DANCE / ELECTRO

HEAVY ROTATION

VINYL FUNK / DISCO / SOUL

FRI 29 QUEER GRRL MOVIE NIGHT

FRI, DEC 29

DAVID WAX MUSEUM

A ROCK’N’ROLL GARAGE SALE

EX HEX W/ SNAIL MAIL

NYE BALL

2017

EX HEX & SNAIL MAIL SAT DEC 30

IN THE LOFT

THE 19TH STREET BAND THUR, JAN 4

FREE

NSO IN YOUR NEIGHBORHOOD KICK-OFF FRI, JAN 5

POPA CHUBBY THUR & FRI, JAN 11 & 12

ANTIBALAS

2 NIGHTS

SUN, JAN 14

AN EVENING WITH

YACHT ROCK REVUE

SUN DEC 31

BLACK CAT NYE BALL

TAKE METRO!

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

THEHAMILTONDC.COM

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com december 15, 2017 31

CITYLIST

LIVE BAND KARAOKE

ROCK ‘N TWANG NEW YEAR’S EVE

Music 32 Theater 35 Film 37

CITY LIGHTS: FRIDAY

SUN. DEC. 31 ~ 8:00PM TIX: $15-$20

H 12.16 12.17 12.21 12.22 12.23

VINTAGE #18 THREE BAD JACKS KITI GARTNER THE WOODSHEDDERS COLONEL JOSH & THE HONKY TONK HEROES WOODY PINES RANDY THOMPSON BAND ROCK ‘N TWANG NEW YEAR’S EVE

12.26 12.30 12.31

H 1.7 1.11 1.12 1.13 1.16 1.18 1.25 1.26 1.27 2.2 2.6 2.8 3.3

H

H FRED EAGLESMITH TRAVELING SHOW STARRING TIF GINN REVELATOR HILL SCOTT KURT & MEMPHIS 59 THE 19TH STREET BAND HONEYSUCKLE HOLLERTOWN AN EVENING WITH IAN MOORE THE HIGHBALLERS AARON BURDETT ALBERT CASTIGLIA LARA HOPE AND THE ARK-TONES ANGELA PERLEY & THE HOWLIN’ MOONS SUZY BOGGUSS (TWO SHOWS)

HILL COUNTRY BARBECUE MARKET

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

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

A CANDLELIGHT CHRISTMAS

It’s the most wonderful time of the year, again! And it’s not really Christmas until The Washington Chorus serenades you with holiday classics. Led by newly appointed and acclaimed artistic director Christopher Bell, previously the conductor of Chicago's Grant Park Choris, the Washington Chorus will cover audience favorites like Handel's “Hallelujah Chorus“ and deeper holiday cuts like “The Dream Isaiah Saw,” all followed by a candlelight processional. If that doesn’t get you in the holiday spirit, I’m not sure what will. Escape from some of the shopping craze and spend a couple hours of your holidays with the Grammy-winning, 200-voice Washington Chorus, and participate in audience sing-alongs the entire family can enjoy. Because who doesn’t love a good sing-along? The Washington Chorus performs at 8 p.m. at the Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. $33–$79. (301) 581-5100. strathmore.org.

—Mikala Williams

HoLIDAY

Music FRIDAY CLASSICAL

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 8 p.m. $50. folger.edu.

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Handel’s Messiah. 8 p.m. $15–$89. kennedy-center.org.

musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. The Washington Chorus: A Candlenight Christmas. 8 p.m. $18–$72. strathmore.org.

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Seasonal Early Music of Germany.

4 p.m. $50. folger.edu.

JAzz

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Choral Arts Society of Washington: A Family Christmas. 1 p.m. $20–$45. kennedy-center.org.

SATuRDAY

JAzz

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 8 p.m. $50. folger.edu.

Kennedy Center terraCe theater 2700 F St. NW. (202) 467-4600. Harriet Tubman. 7 p.m.; 9 p.m. $26–$30. kennedy-center.org.

blues alley 1073 Wisconsin Ave. NW. (202) 337-4141.

Freddy Cole. 8 p.m.; 10 p.m. $47–$52. bluesalley.com.

CLASSICAL

FoLk

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Handel’s Messiah. 8 p.m. $15–$89. kennedy-center.org.

birChmere 3701 Mount Vernon Ave., Alexandria.

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

eaglebanK arena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Christmas with Amy Grant and

32 december 15, 2017 washingtoncitypaper.com

Michael W. Smith. 7 p.m. $59–$150. eaglebankarena.com.

HoLIDAY

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole. 8 p.m.; 10 p.m. $47–$52. bluesalley.com.

RoCk

the anthem 901 Wharf Street SW, DC. O.A.R. 8 p.m. $45.50-$75.50. theanthemdc.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Southside Johnny & The Asbury Jukes. 7:30 p.m. $45. birchmere.com.

CITY LIGHTS: SATuRDAY

oN MY MIND/ IN MY HEART: THE VoICES oF WoMEN IN PuBLIC HouSING

If you really want to feel the impact of performance art on social change, head to First Baptist Church in Petworth to hear six women share their experiences living in public housing and the threats public housing residents face as the city gentrifies. On My Mind/In My Heart: The Voices of Women in Public Housing, which is put on by grassroots organization Empower DC, will highlight the women’s encounters while navigating public housing, hoping to raise awareness about current issues facing residents like the redevelopmentrelated displacement in Barry Farm. Performers will touch on topics like housing conditions, the stigma surrounding residents, and engaging in community activism, backed by soundtrack from a DJ RBI. Following the performance, the audience can participate in a Q&A session with the women to learn even more about fighting displacement and working to make real change. The show begins at 2 p.m. at First Baptist Church, 712 Randolph St. NW. Free. (202) 234-9119. empowerdc.org.

—Jeanine Santucci

CITY LIGHTS: SuNDAY

SAT. APR. 7, 8PM WARNER THEATRE, WASHINGTON DC TICKETS ON SALE FRI. 12/15 AT 10AM THROUGH TICKETMASTER.COM/800-745-3000.

LALAH HATHAWAY

presents

THE HONESTLY TOUR

MuNICIPAL WASTE

Metal heads come in roughly two varieties: the partying headbanger and the dour misanthrope.

An ultra-heavy bill at the 9:30 Club perfectly encapsulates this division. Richmond’s Municipal Waste is the crossover thrash, a band whose obsession with horror movie imagery and getting wasted makes them the bastard child of Anthrax and Misfits. Oxnard, California’s NAILS is the yin to Municipal Waste’s yang, a band whose purpose can be summed up in a song title from its latest album, You Will Never Be One of Us: “Life Is a Death Sentence.” The band’s infinitely heavy mix of punk, grind, and death metal is aural brutality that rarely exceeds the two-minute mark.

What happens when these worlds collide is anyone’s guess—maybe high fives and stage dives or maybe walls of death. But if I had to speculate, it might result in all members of the metal community calling in sick Monday morning. Municipal Waste plays with NAILS, Macabre, and Shitfucker at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

—Matt Siblo

Fri. Jan. 26, 8pm Warner Theatre, Wash DC TIX ON SALE NOW @ TICKETMASTER.COM/800-745-3000

washingtoncitypaper.com december 15, 2017 33

NEW MUSIC VENUE

NOW OPEN

THE WHARF, SW DC DINER & BAR OPEN LATE!

SuNDAY CLASSICAL

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 2 p.m.; 5 p.m. $50. folger.edu.

CITY LIGHTS: MoNDAY

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Handel’s Messiah. 1 p.m. $15–$89. kennedy-center.org.

FoLk

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Chris Pureka. 7:30 p.m. $18–$25. jamminjava.com.

HoLIDAY

the anthem 901 Wharf Street SW, DC. A Pentatonix Christmas. 7:30 p.m. $59.50-$149.50. theanthemdc.com. bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Motown & More Holiday Show. 8 p.m. $20. bethesdabluesjazz.com.

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Seasonal Early Music of Germany.

2 p.m. $50. folger.edu.

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Choral Arts Society of Washington: Christmas with Choral Arts. 5 p.m. $15–$69. kennedy-center.org. montgomery College Cultural arts Center 7995 Georgia Ave., Silver Spring. (240) 567-1300.

Lúnasa with Ashley Davis. 3 p.m. $10–$25. cms.montgomerycollege.edu. national Presbyterian ChurCh 4101 Nebraska Ave. NW. (202) 429-2121. The Holly and the Ivy: Music for Christmas. 4:30 p.m. $15–$50. bachconsort.org.

NEW YEAR’S EVE 2017 LIVE ON STAGE �RING IN 2018!�

•

WITH

JAzz

7PM DOORS

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Norman Brown’s Joyous Christmas.

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

� CE PARTY!� �ACOUSTIC ‘80s DAN

DECEMBER CONCERTS TH 14

F 15 SA 16 W 20 F 22 SA 23 F 29 SA 30

ROOSEVELT COLLIER TRIO HENDRIX MEETS FUNK w/ SOL ROOTS w/ SPECIAL GUEST RON HOLLOWAY CURLEY TAYLOR & ZYDECO TROUBLE ZYDECO DANCE LESSON INCLUDED WITH TICKET PURCHASE! HOLIDELIC w/ SPECIAL GUEST DR. ELMO HOLIDAY FUNK-TACULAR! THE 9 SONGWRITER SERIES HOLIDAY SHOW REVELATOR HILL WITH RON HOLLOWAY MISS TESS & THE TALKBACKS w/ MOOSE JAW BLUEGRASS KING SOUL THE WALKAWAYS

JANUARY CONCERTS F5 SA 6 F 12 SA 13 W 17 TH 18 F 19 SA 20

BAKITHI KUMALO AND THE ALL-STAR GRACELAND TRIBUTE BAND JACOB JOLLIFF BAND THE ROCK-A-SONICS w/ THE JUDY CHOPS ELENA AND LOS FULANOS & RUN COME SEE ANTHONY GOMES FREE DIRT PRESENTS: WESTERN CENTURIES w/ VIVIAN LEVA & RILEY CALCAGNO 2-STEP DANCE LESSON INCL. IN TICKET PRICE! JONNY GRAVE & THE TOMBSTONES DAN BERN

TICKETS ON SALE!

PEARLSTREETWAREHOUSE.COM

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole. 8 p.m.; 10 p.m. $47–$52. bluesalley.com. national gallery oF art West garden Court 4th Street and Constitution Avenue NW. (202) 8426941. Turtle Island Quartet with Liz Carroll. 4 p.m.

Free. nga.gov. tWins Jazz 1344 U St. NW. (202) 234-0072. Levon Mikaelian. 8 p.m.; 10 p.m. $22. twinsjazz.com.

RoCk

Fillmore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Tree House School of Music. 8 p.m. $15. fillmoresilverspring.com.

VoCAL

the anthem 901 Wharf Street SW, DC. A Pentatonix Christmas. 7:30 p.m. $59.50-$149.50. theanthemdc.com.

MoNDAY

THE SWEAT oF THEIR FACE: PoRTRAYING AMERICAN WoRkERS

The share of blue-collar jobs in the United States may have fallen immensely in recent years, but don’t go looking for portrayals of cubicles, suburban office parks, or the modern service industry in the National Portrait Gallery exhibit The Sweat of Their Face: Portraying American Workers. The exhibit of some 75 artworks defines laborers in the most traditional sense, as workers whose sweat pours out due to heat and physical exhaustion. Some of the artworks stretch back 200 years, but the primary focus is on the period from about 1890 to 1960, likely due to both its technological advancements in photography and the long-running attention by artists to the plight of American workers, from the muckraking of Jacob Riis and Lewis Hine to the socially engaged paintings of the Ashcan School and Depression-era artists such as Ben Shahn. Included are a few welcome surprises, like a glorious Winslow Homer painting of a hay baler and a moody, black-and-white photograph of a grape picker by Ansel Adams protégé Pirkle Jones.

But one of the most notable images is one of the most recent, a Renaissance-inspired portrait of “Kean, Subway Sandwich Artist,” made in 2014. The exhibition is on view daily 11:30 a.m. to 7 p.m., to Sept. 3, 2018, at the National Portrait Gallery, 8th and F streets NW. Free. (202) 633-8300. npg.si.edu.

—Louis Jacobson

CLASSICAL

library oF Congress Coolidge auditorium First Street and Independence Avenue SE. (202) 7075507. Dover Quartet. 8 p.m. Free. loc.gov.

HoLIDAY

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Choral Arts Society of Washington: Christmas with Choral Arts. 7 p.m. $15–$69. kennedy-center.org.

JAzz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Dave Detwiler & the White House Band. 8 p.m.; 10 p.m. $39. bluesalley.com.

VoCAL

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Wailin’ Jennys. 7:30 p.m. $49.50. birchmere.com.

TuESDAY CLASSICAL

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 7:30 p.m. $50. folger.edu. library oF Congress Coolidge auditorium First Street and Independence Avenue SE. (202) 7075507. Dover Quartet. 8 p.m. Free. loc.gov.

34 december 15, 2017 washingtoncitypaper.com

HoLIDAY Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Seasonal Early Music of Germany.

7:30 p.m. $50. folger.edu.

VoCAL birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Wailin’ Jennys. 7:30 p.m. $49.50. birchmere.com.

bossa bistro 2463 18th St NW. 202-667-0088.

Tongue In Cheek. 9:30 p.m. $5. bossadc.com. mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Tom Teasley & Seth Kibel. 7:30 p.m. $20. strathmore.org.

THuRSDAY BLuES

WEDNESDAY

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Shemekia Copeland. 8 p.m.; 10 p.m. $52–$57. bluesalley.com.

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 7:30 p.m. $50. folger.edu.

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Folger Consort: Lo How a Rose E’er Blooming. 7:30 p.m. $50. folger.edu.

CLASSICAL

HoLIDAY Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Seasonal Early Music of Germany.

7:30 p.m. $50. folger.edu.

JAzz birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Robert Glasper Experiment. 7:30 p.m. $59.50. birchmere.com.

CLASSICAL FoLk

mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Skylark. 7:30 p.m. $20. strathmore.org.

HoLIDAY

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Frank McComb, Kenya & Deborah Bond Soul & Jazz Holiday Show. 8 p.m. $30. bethesdabluesjazz.com.

Folger elizabethan theatre 201 E. Capitol St. SE. (202) 544-7077. Seasonal Early Music of Germany.

7:30 p.m. $50. folger.edu.

WoRLD

bossa bistro 2463 18th St NW. 202-667-0088.

Sahel’s Songs of the Diaspora. 10 p.m. $10. bossadc. com.

Theater

an ameriCan in Paris The stage adaptation of the classic musical about a former soldier who falls in love with Paris and an attractive Parisian woman while making his way as an artist comes to the Kennedy Center for the first time. Featuring classic Gershwin tunes like “Stairway to Paradise” and “S Wonderful,” this production is directed and choreographed by Christopher Wheeldon. Kennedy Center Opera House. 2700 F St. NW. To Jan. 7. $92–$122. (202) 467-4600. kennedy-center.org.

da. 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.

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.

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.

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 Bethes-

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

CITY LIGHTS: TuESDAY

DAVE EAST

Harlem is known for cultivating some of hip-hop’s greatest influencers. David Brewster Jr., better known by his stage name, Dave East, is continuing to prove himself as an East Harlem influencer through his talent for raw and honest storytelling. East came onto the scene in 2010 with the release of his first mixtape, Change of Plans. After deciding to leave his noteworthy athletic career as a forward on Towson University’s basketball team, he went on to pursue his musical passion and master the art of streetwise lyricism. His mixtapes gained such success that East managed to get recognition from hip-hop patriarch and beloved son of NYC, Nas. With a steadily building loyal fan base, East’s momentum doesn’t show any signs of slowing down.

Some of East’s most recent work, the EP Paranoia: A True Story, which released this year, highlights a who’s who of some of hip-hop’s most influential artists, like Jeezy, Wiz Khalifa, and Nas. Dave East performs at 8 p.m. at the Howard Theatre, 620 T St. NW. $25.50-$59.50. (202) 803-2899. thehowardtheatre.com.

—Mikala Williams washingtoncitypaper.com december 15, 2017 35

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

CITY LIGHTS: WEDNESDAY

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

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FREDDIE JACKSON 26&27 CHARLES ESTEN 28 PIFF THE MAGIC DRAGON 29 PIECES OF A DREAM 23

30

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31

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Jan 4 5&6 7

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VIVIAN GREEN 12 Jake 13,14 EDDIE FROM OHIO Armerding 15 ANGIE STONE 16 DAN TYMINSKI 17&18 ERIC BENET 19 JUNIOR BROWN Lucy Wainwright 20 RUFUS WAINWRIGHT Roche 21 MAC McANALLY 22&23 GAELIC STORM 25 THE VENTURES 26 RICKY SKAGGS & KENTUCKY THUNDER 11

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TAMAYo: THE NEW YoRk YEARS

Vibrant, glowing colors infuse the semi-abstract, symbol-rich paintings of Mexican modernist Rufino Tamayo with his warm curiosity and obvious love for both the people he knew and humanity. An orphaned native of Oaxaca whose ambitious life spanned the 20th century, Tamayo absorbed the lessons of New York City on his sojourns there between the late 1920s and 1949. Now more than 40 of his works— depicting human figures, celestial objects, urban scenes, angry animals, dream-like fires, and ice cream—are on display in a new Smithsonian American Art Museum exhibition, with labels in English and Spanish. “Mandolins and Pineapples,” an aptly titled 1930 still life, entered local history that year when D.C.-based Duncan Phillips became the first prominent U.S. art collector to buy Tamayo's work. While Tamayo may have believed, according to a 1990 New York Times interview, that his “only commitment is to painting,” not to “personal political positions,” his determination to blend Mexican folk culture with famed European influencers like Picasso is quietly political in its visual insistence that his own overlooked heritage was worthy of his gorgeous art. The exhibition is on view daily 11:30 a.m. to 7 p.m., to March 18, 2018, at the Smithsonian American Art Museum, 8th and F streets NW. Free. (202) 633-7970. americanart.si.edu.

—Diana Yap holidays, is directed by Matthew Gardiner. Signature Theatre. 4200 Campbell Ave., Arlington. To Jan. 14. $40–$108. (703) 820-9771. sigtheatre.org.

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. 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. an irish Carol Keegan Theatre’s annual holiday tradition continues with its presentation of this Christmas Carol adaptation set in a Dublin pub. When its owner loses touch with humanity, a series of ghosts visit to remind him about the important things in life. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 31. $35–$45. (202) 265-3767. keegantheatre.com. 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

36 december 15, 2017 washingtoncitypaper.com

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

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

(202) 488-3300. arenastage.org. nothing to lose (but our Chains) Second City performer Felonius Monk mines his own life for experience in this comedy show that chronicles his journey from incarcerated criminal to corporate drone to comedian and actor. He’s joined on stage by a com-

pany of Second City comedians. Woolly Mammoth Theatre. 641 D St. NW. To Dec. 31. $20–$69. (202) 3933939. woollymammoth.net. the PaJama game Union conflicts are never as thrilling or romantic as they are in this musical set at the Sleep-Tite Pajama Factory. When the superintendent falls in love with the head of the grievance committee, all sorts of drama ensues, as does plenty of dancing. Alan Paul directs Arena’s annual fall musical that features songs like “Steam Heat” and “Hernando’s Hideaway.” Arena Stage. 1101 6th St. SW. To Dec. 24. $65–$120. (202) 488-3300. arenastage.org.

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. 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 H St. NE. To Dec. 20. $20–$65. (202) 399-7993. atlasarts.org.

the seCond City’s tWist your diCKens Celebrate the holiday season with the acclaimed Chicago comedy troupe’s take on A Christmas Carol. Combining improvised portions with rehearsed sketches, this comedic revue features appearances from favorite characters like Ebenezer Scrooge and Bob Cratchit.

Kennedy Center Theater Lab. 2700 F St. NW. To Dec. 31. $49–$59. 202-467-4600. kennedy-center.org.

assistant. Starring Armie Hammer, Timothée Cha-

st. niCholas Conor McPherson’s dramatic monologue opens Quotidian Theatre’s season in repertory with A Coffin in Egypt. Steve Beall stars as the Dublin drama critic who encounters vampires when he follows an actress to London. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To Dec. 17. $15–$30. (301) 816-1023. quotidiantheatre.org. 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.

com for venue information) Call me by your name A 17-year-old boy begins a relationship with an older man, his father’s research lamet, and Michael Stuhlbarg. (See washingtoncitypaper.com for venue information) darKest hour Newly-appointed British Prime Minister Winston Churchill must decide whether or not

3 BEST

GOLDEN GLOBE AWARD NOMINATIONS ®

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BEST ACTOR TIMOTHÉE CHALAMET • BEST SUPPORTING ACTOR ARMIE HAMMER

DRAMA

and Joseph Lee Anderson. (See washingtoncitypaper.

DRAMA

sCriPts in Play Festival See a variety of new plays by emerging playwrights at this annual theater festival presented by WSC Avant Bard. Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington.

To Dec. 17. $10–$35. (703) 418-4808. wscavantbard.org.

ONE OF THE BEST PICTURES OF THE YEAR © H F PA

NATIONAL BOARD OF REVIEW AMERICAN FILM INSTITUTE Peter Travers, ROLLING STONE David Edelstein, VULTURE John Powers, VOGUE Richard Lawson, VANITY FAIR David Ehrlich, INDIEWIRE Matt Patches, THRILLIST Joe Morgenstern, WALL STREET JOURNAL Nick James, SIGHT & SOUND Mara Reinstein, US WEEKLY

to negotiate with Hitler and Nazi Germany in the early days of World War II. Starring Gary Oldman, Lily The New York Times

James, and Kristin Scott Thomas. (See washingtoncitypaper.com for venue information) Ferdinand In this animated adventure, John Cena stars as Ferdinand, a big bull with a heart of gold, who gets captured when he’s mistaken for a dangerous animal. Co-starring Kate McKinnon and Bobby Cannavale.

(See washingtoncitypaper.com for venue information) Just getting started An ex-FBI agent and an exmob lawyer put aside their golf rivalry to defeat the mob. Starring Morgan Freeman, Tommy Lee Jones,

A FILM BY

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TIMOTHÉE CHALAMET

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and Rene Russo. (See washingtoncitypaper.com for venue information)

Film

the ballad oF leFty broWn Cowboy Lefty Brown begins a perilous journey to avenge the murder of his partner. Starring Bill Pullman, Peter Fonda,

star Wars: the last Jedi Luke Skywalker joins powerful newcomer Rey on a journey to discover mysteries of both the Force and the past. Starring Daisy Ridley, Mark Hamill, and John Boyega. (See washingtoncitypaper.com for venue information)

WASHINGTON CITY PAPER THU 12/14 1/6 PG. (4.666" X 3.371") ALL.CBN.1214.WCP

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CITY LIGHTS: THuRSDAY

WHAT ABSENCE IS MADE oF

’Tis the season of peak consumerism, but What Absence Is Made Of, a sprawling, unfocused exhibition at the Hirshhorn, looks at art that tries to do more with less, a stripped-down counterpoint to the blockbuster maximalism of Yayoi Kusama. While Ed Atkins’ three-channel video installation “Safe Conduct” riffs on flight instruction videos in what amounts to a negation of the artist, the exhibit has a more meditative side with Hiroshi Sugimoto’s large-scale minimalist photos, as well as a jar of cookies made from the ashes of John Baldessari’s early artwork, burned in a creative purge. Yet the most spot-on staging may be the closing Damien Hirst piece, which leads directly to the hallway where Ron Mueck’s “Untitled (Big Man)” contemplates his fate. It’s not officially in the show, but Mueck’s naked giant seems to ask, when the emperor has no clothes, is this too the art of absence? The exhibition is on view daily 10 a.m. to 5:30 p.m. at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 6334674. hirshhorn.si.edu.

—Pat Padua washingtoncitypaper.com december 15, 2017 37

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Puzzle IN SECRET

By Brendan Emmett Quigley

1 [Move your car, idiot!]

5 Record Store Day purchases 8 Nabokov masterwork 14 New Balance rival 15 Turn served on a boat 16 Common soccer result 17 Island off Tanzania 19 Sasha and Maliaâ&#x20AC;&#x2122;s dad 20 Feminist Smeal 21 ___Avivian 22 Amtrak stop: Abbr.

23 ___magazine (junk mail from the school you went to) 25 Simply the best 27 Home for the Liszt School of Music 30 Armando who created the HBO show Veep 32 â&#x20AC;&#x153;Tasty!â&#x20AC;?

33 The Post star 34 Accidental repeat of an entry in a crossword grid 36 Snake driver, for short

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Wing in a luxury hotel, maybe â&#x20AC;&#x153;Dude!â&#x20AC;?

Shutting down Pink fish â&#x20AC;&#x153;Ask me laterâ&#x20AC;?

Most unfriendly Jameis Winston, briefly French 101 verb â&#x20AC;&#x153;Secretâ&#x20AC;? figures hidden among the third, sixth, tenth, and thirteenth rows in this puzzle The better half Chestnut color

Down

1 Light smog 2 Roundish shape 3 Pool ball with a yellow stripe

4 Shaq-as-genie movie 5 Jeremy Corbynâ&#x20AC;&#x2122;s party 6 ___tech (scrip filler) 7 Title for Mark Rylance 8 Earring spot 9 Hanging out to dry, say 10 Primus guitarist LaLonde 11 â&#x20AC;&#x153;Still busyâ&#x20AC;?

12 Little breath mint 13 Chemical salt 18 Visiting Graumanâ&#x20AC;&#x2122;s Chinese Theater, say

21 Sparkling headwear 24 Go over in excruciating detail 26 Accidental repeat of an entry in a crossword grid 27 Sanctioned item: Abbr.

28 Bird in the Outback 29 Little devil 31 Bring home 33 Overexert 35 Give off 36 Fifth note in a scale 38 Dunking org.

39 Lacking light 40 â&#x20AC;&#x153;Little help, please!â&#x20AC;?

42 Colorado city on the Rio Grande 44 Creme de ___ (liqueur) 45 Llama relative 46 Give someone a hand?

47 Purple flowers 48 â&#x20AC;&#x153;Smack Thatâ&#x20AC;? rapper 49 Team list 52 Happen 55 Six footers at a picnic 57 All about right about now 58 Year One author Roberts 59 Spider-Manâ&#x20AC;&#x2122;s girlfriend ___ Stacy 61 Came across 62 Watson Health developer

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40 december 15, 2017 washingtoncitypaper.com