The Washington Post - 20.10.2019

SUNDAY, OCTOBER 20 , 2019. THE WASHINGTON POST EZ M2 C3

Results from Oct. 19

DISTRICT
Mid-Day Lucky Numbers: 3-5-4
Mid-Day DC-4: 0-9-1-8
Mid-Day DC-5: 9-6-6-9-4
Lucky Numbers (Fri.): 3-1-8
Lucky Numbers (Sat.): 5-7-4
DC-4 (Fri.): 9-2-8-2
DC-4 (Sat.): 2-6-2-8
DC-5 (Fri.): 1-6-4-4-2
DC-5 (Sat.): 4-0-3-8-6

MARYLAND
Mid-Day Pick 3: 5-5-7
Mid-Day Pick 4: 6-4-7-9
Night/Pick 3 (Fri.): 9-9-5
Pick 3 (Sat.): 0-6-9
Pick 4 (Fri.): 7-5-0-9
Pick 4 (Sat.): 9-3-9-2
Match 5 (Fri.): 10-16-18-19-23 31
Match 5 (Sat.): 11-14-29-30-39 35
5 Card Cash: 9C-10S-6S-5S-JH

VIRGINIA
Day/Pick-3: 1-0-2
Pick-4: 5-0-9-0
Cash-5: 4-9-18-25-28
Night/Pick-3 (Fri.): 3-9-2
Pick-3 (Sat.): 0-5-0
Pick-4 (Fri.): 1-1-3-7
Pick-4 (Sat.): 0-2-2-0
Cash-5 (Fri.): 5-9-18-31-32
Cash-5 (Sat.): 10-11-14-16-26
Bank a Million: 8-11-22-29-33-34 *30

MULTI-STATE GAMES
Powerball: 14-27-29-59-65 †12
Power Play: 2
Mega Millions: 18-58-60-65-67 *20
Megaplier: 3
Cash 4 Life:13-29-43-44-50 ¶3
Bonus Ball **Mega Ball
¶ Cash Ball †Powerball
For late drawings and other results, check
washingtonpost.com/local/lottery

LOTTERIES

THE DISTRICT

Police identify man

fatally shot in SE

Authorities h ave identified a
man who w as fatally s hot
Thursday evening in the
Washington Highlands
neighborhood of Southeast
Washington.
D.C. police said i n a statement
that Deron Leake, 27, of Southeast
Washington, was pronounced
dead at t he s cene of the shooting,
which h appened a bout 5:50 p.m.
in the 4200 block o f Sixth S treet
SE. A second man was wounded.
— Peter H ermann

Man killed in midday

shooting in Southeast

A man was s hot t o death in
Southeast Washington on
Saturday, police said.
D.C. police responded t o a call
shortly before 12:30 p .m. to the
2400 block o f Hartford Street S E,
and f ound an unconscious man,
according to a police spokesman.
Police had no o ther details.
— Susan Svrluga

VIRGINIA

Man charged in attack

of daughter, mother

An 8-year-old girl w as stabbed
repeatedly by h er father Friday
night, according to police who
arrived at t he s cene and
intervened to stop t he a ttack.
The girl’s m other also w as
stabbed multiple t imes, police
said, and b oth v ictims were f lown
to a hospital to be treated for life-
threatening injuries.
Prince William County police
responded to the r eport of a
stabbing i n Woodbridge a bout
9:30 p.m. a nd s aw a man carry t he
girl down the s tairs of the
Dominion Middle R idge
apartments, put h er on the
ground a nd strike h er several
times. An o fficer quickly
intervened, according to police,
and t he m an struggled with the
officer and a dditional officers
who arrived on t he scene.
The suspect, identified as
Javier Mauricio Molina, 25,
continued to struggle as officers
tried t o put him into police cars,
authorities s aid. He e ventually
had t o be p ut in a prisoner
transport v an.
Officers used trauma kits t o
give the g irl medical aid before
rescue personnel arrived. While
treating her, they learned o f
another victim inside the
apartment in t he 3600 block of
Meandering Way. They f ound the
girl’s 25-year-old mother i n the
kitchen w ith m ultiple stab
wounds and began i nitial
treatment. Molina was charged
with two counts of a ggravated
malicious wounding.
— S usan Svrluga

LOCAL DIGEST

Your recent column about the Reach at the Kennedy Center rang a bell for me. I believe that Mary Cardwell Dawson’s National Negro Opera Company staged several performances on that Water Gate barge. I’m not sure if Lillian Evanti sang in those performances or not. — Gene C. Miller, Takoma P ark On Aug. 28, 1943, a crowd of 8,000 settled onto the stone steps overlooking the Potomac j ust west of the Lincoln Memorial. Dozens more bobbed i n canoes and rowboats on the river. It w as an integrated audience, d rawn by a love o f opera and an affection for a native daughter: lyric soprano Lillian Evanti. Evanti was singing the r ole of Violetta in “La Traviata,” a role she would play more than 50 times in her career. This performance was w ith the National Negro Opera Company, founded i n 1941 in P ittsburgh by Mary Cardwell Dawson. Evanti not only sang the female lead, she had provided the English text, finding o ther translations poorly metered w hen compared with the original Italian. “Her voice is brilliant w ith ringing high tones a nd a sparkling smoothness in florid passages,” wrote a critic for the Evening Star. Wrote another critic: “The future of the Negro in opera seems assured.” Perhaps, but as Jennifer Morris, archivist at t he Smithsonian’s A nacostia

Community Museum, w hich houses a collection of Evanti material, put it: “She was really instrumental in making h er own dreams come true — to sing grand opera — however, she had to go abroad to really succeed, due to limited opportunities here.” Evanti was born Annie Lillian Evans i n 1890. Her paternal grandfather was active with the Underground Railroad i n Oberlin, Ohio. A great uncle had been involved in John Brown’s raid on Harpers Ferry. Her father, Wilson Bruce Evans, t rained as a doctor at Howard University but chose a career as an educator, becoming t he first principal of the District’s Armstrong Manual Training School. Her mother, Annie Brooks, w as also a teacher. Music was a fixture in the Evans home. Lillian gave her first

public performance at a ge 4 , in a charity benefit at Friendship, the home of Washington Post o wner Edward B. McLean. In h er unpublished memoir, Evanti wrote: “I simply burst forth into song. I curtseyed and grinned back at t hem, not realizing I was learning one of the tricks of winning an audience.” After high school a t Armstrong, Evanti went to Miner Te achers College. She then entered Howard’s m usic school, earning t uition by teaching kindergarten and giving private music lessons. Among her m usic teachers at Howard was Roy Wilfred Tibbs. They m arried in 1918. Tibbs had studied in Paris and it was Lillian’s u nderstanding that he desired h er to do the same. ( Her long solo s ojourns in Europe were

to eventually strain the marriage.) Lillian left f or the C ontinent i n

Her American n ame didn’t
strike Lillian as suitable for the
diva she wanted t o be. Gathered
with friends a t a party i n Paris,
she said she w anted a more
euphonious-sounding n ame.
“I came up with Tivani,” s he
wrote, a conjunction of Tibbs and
Evans, her married a nd maiden
names. But h er friend Jessie
Fauset, novelist and literary
editor of the Crisis, t hought t hat
could be improved. Fauset
crossed out “ Tivani” a nd wrote
“Evanti.”
Wrote Lillian in her memoir:
“ ‘That’s just it,’ I cried. So we
uncorked a bottle of champagne,
and I have b een Evanti ever
since.”
Evanti studied a nd performed
throughout Europe. Her first lead
was the title role in Léo Delibes’s
“Lakmé” i n both Nice and Paris.
She returned regularly to the
States, where s he earned plaudits
for a bill that mixed a rias a nd
spirituals. A 1932 recital at
Washington’s B elsaco T heater
“exemplified the true Evanti
vogue current in Europe,” wrote
one critic.
As Eric Ledell Smith noted i n
the journal Washington History
in 1999: “As w as true with so
many African American artists,
Evanti needed European acclaim
before w hite A merican critics
took her seriously.”
Critics took her seriously, but
New York C ity opera gatekeepers
weren’t s o welcoming. Evanti
first auditioned with the
Metropolitan Opera i n 1932,
singing b oth for i ts director,
Giulio Gatti-Casazza, and the

panel of judges with whom the final decision rested. She thought it went well but was n ot offered a contract. Evanti auditioned regularly over t he years but never landed a role. In 1 955, Marian Anderson became t he first African American soloist at t he Met. “I was a few years t oo soon,” Evanti wrote. After settling back in Washington, Evanti t aught music, directed choirs and served as a goodwill a mbassador for the State Department. She was also a composer. In 1953, Evanti w rote the music to “Hail to Fair Washington,” a n ode to D.C. voting r ights. The lyrics, by Georgia D. Johnson, included: “We want to vote, h ome rule to promote, in the s eat of this democratic nation./ Why should we wait, why hesitate? Yes, we want representation.” Evanti died in 1967. Her house at 1 910 Vermont Ave. NW is on the National Register of Historic Places. In 1 935, Evanti testified before Congress urging lawmakers t o fund a n opera house i n the capital. An opera house, a Te mple of Arts, she called it, w ould do more than just entertain audiences. “Who are the h appiest people?” Evanti asked. “The people who think the most interesting thoughts. Enjoyment of the arts gives one the relaxation as well as the inner-soul nourishment essential to healthy thinking.” [email protected] Twitter: @johnkelly

For previous columns, visit washingtonpost.com/john-kelly.

Opera singer found acclaim in Europe and resistance at home

John Kelly's Washington

D.C. PUBLIC LIBRARY WASHINGTONIANA DIVISION/ WASHINGTON EVENING STAR COLLECTION/THE WASHINGTON POST

Soprano Lillian Evanti studied and performed throughout Europe.

BY JUSTIN WM. MOYER

The son of a former slave, Wil- liam Wilson Cooke fought a racist Washington bureaucracy for the right to build post offices more than 100 years ago. He also designed a home in the District, churches and offices at historical- ly black colleges, cementing his status as a pioneering architect. But some o f Cooke’s works have disappeared or are falling into ruin. The latest casualty i s a hospital he designed in Gary, Ind., for black patients who had no other options. The city announced last month it would tear down the former St. John Hospital, which became a victim of urban decay in a city that has seen more than its share of blight. Seventy years after his death, Cooke’s work is fading. Historians say part of the problem is that few know who C ooke w as. “Cooke’s legacy is not in danger, because some of his buildings are still standing,” said Tiffany Tol- bert, senior field officer for the National Trust for H istoric Preser- vation, a nonprofit that advocates for h istoric sites. “ It’s m ore people knowing he d esigned t hem.” As Tolbert documented in a 2011 article for the Indiana Histor- ical Society, Cooke rose from ob- scurity and, after losing his archi- tectural firm to the Great Depres- sion, returned to it. Born in 1871 to a father who owned a barbershop and grocery store i n Greenville, S.C., after gain- ing his freedom, Cooke was a car- penter’s apprentice before enroll- ing at Claflin University, founded to educate freed slaves and the first black college to offer architec-

tural drawing. He designed buildings there and at other African American insti- tutions in the South as part of what To lbert called “self-sustainment.” “The community had to build its resources,” s he said. “There weren’t pro- visions in broader gov- ernment structures.... African American buildings were designed by Af- rican Americans during segrega- tion.” Cooke h eaded to Washington in 1907 in search of a federal architecture job. He wasn’t permitted to take the civil service e xam there because of his race and had to sit for the test in Boston. After he passed and landed a job at the Treasury Department, h e was p er- mitted to work only as a drafts-

man — the first black man to work in the department’s su- pervising architect’s of- fice. As a federal employee, Cooke created some of his longest-lived work: post offices, 17 of which he designed between 1911 and 1941. These buildings, and many Cooke created in private practice w hen he relocat- ed to Gary in 1921 for reasons lost to history, weren’t dazzling mod- ernist edifices, but neoclassical — the antithesis of, say, the work of Frank Lloyd Wright, a more fa- mous contemporary. While in the District, Cooke completed alterations to Asbury United Methodist Church, which still stands at 11th and K streets NW, and built a home.

About 15 years ago, Marvin Sea- graves tore down that home on Kearny Street in Northeast Wash- ington. The century-old structure was “an old, vacant house,” he said, in a rapidly gentrifying city. He didn’t know who had built it, and he didn’t take photos before he leveled the home and built another. “I was young and trying to make things happen,” Seagraves said. “It just wasn’t really some- thing that was on my mind.” Lee Bey, an architecture critic and author of “Southern Expo- sure: The Overlooked Architec- ture of Chicago’s South Side,” said Cooke’s style was born of the ob- stacles he overcame to become an architect. Having fought his way into an industry that, even i n 2019, is 2 percent African American, Cooke n eeded to show he could do “the same thing a white counter- part would,” Bey s aid. “This is how you show others in this country that you’re not some ‘other,’ ” Bey said. “You produce a bank building and a fraternal or- ganization building, and it looks good... not f lashy.” Before h is architecture f irm fell victim to the Depression, Cooke designed St. John Hospital in Gary, built in about 1920 for Afri- can Americans who weren’t permitted to visit the city’s white hospitals. At the time, according to the nonprofit preservation group Indiana Landmarks, most African Americans in Gary couldn’t afford medical care. An unfiled historic registration application from 2005 states that St. John filled a void for health care within Gary’s black c ommunity. “It continued in this role until

the 1950s, when African Ameri- cans were first allowed regular care in the larger city hospitals,” according to the application. “Once its service as a hospital ended, the structure was used as an apartment building that has recently begun to slide into disre- pair.” The slide continued for more than half a century — long after Cooke’s death in 1949. The hospital is crumbling into underbrush. Brad Miller, director of Indiana Landmarks’ northwest field of- fice, said the building is “beyond repair.” “It would take a full reconstruc- tion of the building that is not exactly feasible,” he wrote in an email. Gary city officials announced last month they plan to raze St. John by the end of the y ear. In an email, Gary city spokes- woman LaLosa Burns said the building is scheduled t o be demol- ished as early as the last week of November. She said it “has collapsed to the point of leaning on the a djacent property and the roof has collapsed to the b asement and entry cannot be gained.” “While there has been talk about preserving the building’s history in some way, the manner has not been determined at this time,” s he said. To lbert called the hospital’s fate “very u nfortunate.” “The city of Gary has many issues that they are dealing with,” she said. “Unfortunately, preservation doesn’t get elevated to the priority that it should. Through other channels, we have to make sure the story of Mr. Cooke i s told.” [email protected]

RETROPOLIS

Ind. hospital, designed by son of former slave, to be torn down

JOSEPH S. PETE/TIMES OF NORTHWEST INDIANA St. John Hospital in Gary, Ind., by groundbreaking architect William Wilson Cooke, provided care to the black community.

William Wilson Cooke

BY PERRY STEIN AND CLARENCE WILLIAMS

Prince George’s County officials said Saturday that they a re investi- gating how a man suffered a “grievous” injury while hand- cuffed in p olice custody. Police revealed few details about the 24-year-old’s injury but said he landed on his neck after officers used force to bring him to the ground during a traffic stop Thursday afternoon. “I have no information that leads me to believe that these officers acted to harm this individual intentionally, no information that

leads me to believe that these acts were malicious,” Police Chief Hank Stawinski said at a news conference. “A nd I have no i nformation t hat leads me to believe that this is anything other than a horrible, horrible accident.” Police said there is a warrant to charge the man as a result of the incident that includes charges of assault, resisting arrest and pos- session of more than 10 grams of marijuana. The department did not release the man’s name on Saturday because he had not been charged. Prince George’s County Execu-

tive Angela D. Alsobrooks, who also attended t he news conference Saturday, said she is “deeply con- cerned.” “We are here this afternoon because we care about what hap- pened,” s he said. “A fter t he investi- gation is complete, we will deal with whatever we learn.” The incident began when the man was pulled over in the 4000 block o f Wheeler Road in the Oxon Hill area for operating a vehicle with expired tags, police said. When an officer approached his car, he reportedly smelled marijuana emanating from the vehicle. A 6-year-old was also in the car.

When the officer attempted to write down information, the driver began shouting and reached toward a console inside the car, police said. The officer called for backup. Officers removed the driver f rom the car a nd put him i n handcuffs. The driver attempted to escape. As police tried to stop him, he fell, landed on the road- way and complained of pain, according to officials. Police called an ambulance within three minutes, and the man underwent surgery, according to S tawinski. Stawinski said the officer’s tac- tic appeared to be consistent with

police training. Police said the o fficer who made the initial traffic stop recorded part of it on his cruiser’s dash camera, though the man was reportedly out of the camera’s view when he was i njured. A knife was found in the vehicle’s center console, according to police. Officials said they also dis- covered about 30 grams of marijuana. The officer involved is on rou- tine administrative leave. Investi- gators will d etermine w hether t he use o f force was appropriate. [email protected] [email protected]

MARYLAND

Man sustains ‘grievous’ injury during arrest in Oxon Hill area

Subscriber Exclusives

Access subscriber benefits at washingtonpost.com/my-post.

Giddy-Up: Free Tickets to the Washington International Horse Show October 22-27 at Capital One Arena Experience the beauty and athleticism of the finest horses and riders in the world as they come together in our nation’s capital for six days of world-class international show jumping and top hunter and equitation competition. Be sure to budget time for boutique shopping, VIP hospitality and community events.

No Strings Attached: Free Tickets to Sonny Landreth on November 7 at City Winery After a dozen acclaimed albums, the Louisiana Guitar Maestro dropped Recorded Live in Lafayette (20 17 ), a 16 -song opus that covers more musical ground than any single album ever could. “It’s a sound few could pull off, a hoodoo stew of psychedelic Cajun/Creole country that feels like somebody’s dropkicked you in the chest and set your pants on fire.” (NoDepression.com)

The Washington Post - 20.10.2019

Get our desktop app

Company

Features

Documentation

Resources