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City Cast DC

Kaela Cote-Stemmermann

Samu Qureshi has dedicated 57 years, thousands of days, and hundreds of thousands of hours tracking items across the globe to amass the biggest collection of Washington Football memorabilia in existence. Things that others threw away long ago — team Coke bottle caps and Slim Jims boxes with players' portraits — Qureshi has devoutly kept.

He organizes his collection in what he calls “the museum” — a 5,000-square-foot basement in Bethesda packed to the brim with burgundy and gold that, to Qureshi, still isn’t big enough to display everything.

Now, Qureshi wants to sell the collection to the new team and establish a museum and hall of fame. But it’s easier said than done and preserving the past isn’t cheap.

These tensions play out in “The Custodian,” a 25-minute documentary that follows Qureshi’s quest to build his collection and secure its future, all while reconciling with the team's controversial history. The film is 

premiering on June 12 at Regal Gallery Place

. The annual documentary festival runs June 11–14 and features 64 films and 49 shorts from 32 countries at venues across the city. 

As one of the few films focused on the DMV, “The Custodian” explores a common nostalgia that will resonate with DMV football fans of all eras – but also shows how the sheer size of Qureshi’s collection weighs on him financially and strains his relationships.

The very first line of the film is his wife calling to say, “You’re running out of time on the financial front…liquidate, liquidate, liquidate.” Qureshi painfully admits that, to live the life he wants, the collection needs to go. 

Yet we also witness his deep reverence and attachment. He giddily shows guests around, pointing out old seat cushions from the team’s most iconic games, ad campaigns from the 1990s, letters written by former owner George Preston Marshall, and yes, even jockstraps. Over 25 former Washington Football players have visited, each leaving their autograph for the collection.

“It’s not just a man cave, I’m not just some average fanboy, it's really historic memorabilia,” Qureshi says.

The film also doesn’t shy away from addressing the problematic history of the Washington Football team back when it was known as the Redskins. Qureshi says he loved the logo back then. When Lauren Cordova of the Shoshone-Bannock people visited the museum, he called the logo "dignified" and "noble."

“That looks like a white guy to me, painted red, with a wig and some fake chicken feathers on there,” she replies. We watch as her questioning forces Qureshi to reconcile his nostalgia and love for the team with its problematic past, leading to tense silences and unresolved differences between them.

The film’s director, Khaula Haider Malik, told me she found Qureshi’s story by accident while searching for an RV on Facebook Marketplace. When the RV owner pitched a film about Qureshi, Malik was hooked.

“When I saw the museum, and witnessed the care that he put into collecting all of this stuff and organizing it in a proper museum format, I was just immediately compelled,” said Malik.

Two months later they started filming “The Custodian” with the RV owner as their producer.

“I really hope watching the film sparks conversations among people,” said Malik. “Our nostalgia is our nostalgia, even if sometimes it can be associated with problematic things, it doesn't discount your feelings.”

The film was also personal for director Malik. She and Qureshi are both DMV-born Pakistani Americans and their fathers worked together before they were even born. She was a diehard Washington Football fan who daydreamed about being the team's head coach as a kid. But, like many DMV football fans, had become cynical of the team because of its racist past.

“I was a dedicated and heartbroken fan for decades until I finally put my love of the game to rest, disillusioned by the sport and ashamed of my support of a team whose name disrespected an entire community,” said Malik. “This film is a process of [Qureshi] trying to release the burden of this history into the hands of the team’s owners, who need to accept the responsibility.”

Now in his 60s, Qureshi wants to pass along his collection so he can travel and spend time with his wife and friends. His dream is to have it publicly displayed in a team museum. Throughout the past year, Qureshi has been in conversations with several high-level Commanders officials about selling his collection. And while several owners, including Mitch Rales, have made public comments about wanting a Washington Football Hall of Fame, the deal remains in limbo.

Earlier this year, Qureshi’s landlord increased rent and he gave up the museum space. For now, with the exception of some of Qureshi’s favorite pieces, the collection is sitting in an unmarked storage unit while it waits for a permanent home.

“I spent my whole life archiving the team's history,” Qureshi said. "I just really would love it to be shared.”

This documentary short premiering at DC/DOX Festival explores a Washington Football fan's 57-year quest to preserve the team's history while reckoning with its racist legacy.

'The Custodian' Explores the Life of Washington Football's Biggest Superfan

Food and Drink

D.C. food, culture, and everything worth your time. 

DC Food and Drink

Celebrations for America's 250th anniversary are about to begin in D.C. President Donald Trump has ordered a slew of events, from a UFC fight on the South Lawn and an IndyCar Grand Prix to the Great American State Fair (which is 

). But there are plenty of ways to celebrate the anniversary, far from the shadow of the White House.

We rounded up the best events, many of them hosted by local institutions, that celebrate D.C.’s contributions to American history. Whether you go for a historic bike tour or drop by one of the many chef collaborations, there is something for every type of Washingtonian.

Events begin June 3 and run through the end of July.

Block Party at the National Gallery of Art

Celebrate 250 years of American art and creativity at the 

. There will be interactive public art projects, local music, zine-making, sound baths, artist talks, food vendors, an outdoor chalk mural and more spread across the museum's campus.

Ice Cream Social and Art Workshop at the Anacostia Community Museum

Stop by this social on the way to your Fourth of July cookout. Get your fill of ice cream then join a 

 making legacy-inspired artworks that explore the roots and values that shape D.C.’s community.

USA at 250 Art Exhibit at Del Ray Artisans

See how local artists capture their view of 

“USA at 250” at this exhibit in Alexandria

. Artwork highlights the local landscapes, people, history, creativity, and resilience that shaped America. You can meet the curators and artists at an 

Colonial Coffeehouse Experience at Tudor Place

 is inspired by the colonial coffeehouses where gossip and revolutionary ideas brewed. Explore Tudor Place’s exhibits and learn how these institutions shaped and changed communities across the United States before heading to Dower House for coffee and a slice of pizza.

Doyle Bar is marking America’s birthday with a 

 that it’s calling a “liquid narrative of D.C.” Each cocktail is inspired by local cultural figures like Lady Bird Johnson, Duke Ellington, and Josephine Baker. Try the GoGo Swing, a bourbon and prosecco cocktail inspired by Chuck Brown.

D.C.’s restaurant association is kicking off 

 this month called EAT250 with more than 100 restaurants participating. Expect chef collab dinners, public talks, special menus, and interactive events that explore the traditions and cultural exchanges that define American cooking.

America 250 Music Performance Series in Eastern Market

Pack the picnic blankets! Every Friday in July there will be a 

 in Eastern Market Metro Park. Check out 

 on July 10, a local ensemble that plays video game and anime soundtracks or the DMV Music Academy steel pan ensemble on July 3.

Fashion and Jazz Celebration at the Library of Congress

Throughout June, the Library of Congress is 

 that pay tribute to 250 years of American fashion and jazz. Dance at a fashion-themed costume ball on June 11, listen to legendary jazz bassist Stanley Clarke on June 18, or slip on your favorite trainers for the sneaker party on June 25. Guests are encouraged to arrive dressed in clothes from their favorite era — think powdered wigs, hoop skirts, and streetwear.

District Vibes / American Pride Exhibit at MLK Library

Next time you’re at MLK Library, head to the main hall 

for this exhibit on how D.C. changed American culture

 from the football huddle to Marvin Gaye songs. Along with the main exhibit, neighborhood libraries will host their own exhibits, talks, readings, and films that all celebrate Washingtonian contributions to U.S. history.

 on their statewide tour. Expect two days of music, family activities, exhibits, tours, public art, educational programs, and more.

American Aspirations Exhibit at the Smithsonian Castle

 that explore how different generations have interpreted the Declaration of Independence. It celebrates the American experience while acknowledging we're still striving to live up to the ideals set forth during the country's founding 250 years ago.

America 250 Bike Ride on the Mount Vernon Trail

 along the Mount Vernon Trail. You’ll stop and visit five historical points along the Mount Vernon Trail including the Navy and Marine Memorial, Gravelly Point, and Daingerfield Island before looping back to the Columbia Island Marina. Pro tip: Grab an orange crush at Island Time, a marina-side dive bar, after your ride.

July Fourth Women's History Walk in Alexandria

this tour highlighting Alexandria’s heroines

 of the past. The tour will begin at the Alexandria Visitor Center, swing by a variety of historic sites in Old Town and end at the city’s historic Waterfront.

From exploring historic ships to dancing to local tunes, celebrate America’s birthday like a real Washingtonian. 

A Local’s Guide To America 250 in Washington D.C.

Find the best of everything that DC has to offer.

DC’s Best

DC's Best

Emma Uber

Locals have refused to call the iconic D.C. performing arts venue the “Trump Kennedy Center,” even after the board voted to add Trump’s name in December and changed the signs. Now, a judge says the renaming was against the law.

A federal judge on Friday ordered the removal of President Donald Trump’s name from the John F. Kennedy Center for the Performing Arts building and all official branding, ruling that the board acted unlawfully by renaming the institution without an act of Congress. In a 94-page opinion, U.S. District Judge Christopher Cooper also temporarily blocked the institution from closing for two years of renovations.

"The Kennedy Center's organic statute makes crystal clear that the Center is to be named for President Kennedy, and it cannot bear any other formal name or public memorial based on the Board's unilateral say-so,” wrote Cooper. “Congress gave the Kennedy Center its name, and only Congress can change it.”

As part of his ruling, Cooper ordered that all signage and online materials referring to the "Donald J. Trump and John F. Kennedy Memorial Center for the Performing Arts," the "Trump Kennedy Center," or anything similar must be removed within 14 days.

Cooper also found that the institution’s board had been “derelict” in failing to consider the consequences to programming when shutting down the center and called the renovation plans “murky,” writing that none of the board members had enough information to decide whether the closure was necessary. Most performances have already been canceled in anticipation of the closure that was set to begin in July — plus, the center has struggled to 

 talent since Trump installed himself as chair of the board last year.

The ruling does not prevent the Kennedy Center's board from a future closure, but the judge said that it should only do so after the board has "sufficient information to make a considered, independent decision, taking account of its obligation to both maintain and operate a premiere arts venue and its solemn duty to memorialize a fallen President."

Roma Daravi, a spokesperson for the center, said it would appeal the decision. In a statement Friday, she said that the Trump administration remains committed to giving the center “an urgent and significant restoration.”

“We are confident that on appeal the court will uphold the Board’s will to recognize President Trump’s historic contributions to our nation’s cultural center,” she said. “With $257 million secured by President Trump and approved by Congress, the resources are in place and we remain committed to pursuing every lawful avenue to ensure the Trump Kennedy Center is restored as a national cultural landmark for all Americans to enjoy.”

In an email sent after the ruling, Daravi referred to herself as the “Trump Kennedy Center Vice President of Public Relations.”

In response to a request for comment, the White House referred to Trump's lengthy 

 Friday evening, in which he railed against Cooper and decried the center as in need of renovation. He also wrote he is going to be 'working with Congress to transfer this failing Institution back to them,' though Congress already possesses legal control of the center.

"Unless I am free to do what I do better than anyone else, bring this Institution back, physically, financially, and artistically, I have no interest in continuing what could only be a hopeless journey into “NEVER NEVER LAND.”"

The rulings mark a win for Rep. Joyce Beatty, a Democratic congresswoman and board member who in December sued her fellow trustees after they voted to rename the institution after Trump. She later broadened her lawsuit to contest the closure of the center altogether.

"Today's ruling rightly affirms that this administration's efforts to rename and close the Center have no basis in law," Beatty said in a statement. "The Kennedy Center is an institution that belongs to the American people, not to Donald Trump. He has desecrated this sacred memorial for his own vanity."

In a separate decision Friday, Cooper denied a similar challenge to the renovations brought by preservationist groups.

A lawsuit filed in March by a coalition of architectural and historic preservation organizations, including the DC Preservation League, argues the Trump administration has already caused historic harm to the building and must go through a federal review process before any more work can be done. The group alleges that the administration appears intent on “major aesthetic transformation” or maybe even total demolition of the arts center.

The government countered by saying the Kennedy Center is not a federal agency subject to those review requirements, and that the construction plans do not indicate an intention to demolish the arts center.

Cooper sided with the government, but said his position could change based on the scale of the renovations.

“If the work is, say, more transformative than present testimony suggests or requires permits that the center has yet to acknowledge or secure, the court’s legal analysis might look substantially different,” the judge wrote.

U.S. District Judge Christopher Cooper said the Kennedy Center’s board acted unlawfully by renaming the center without congressional approval. 


Trump’s Name Must be Removed from Kennedy Center, Judge Orders

Local News

Get the story that everyone in Washington is talking about.

D.C. Local News

When Ken Brobeck entered the DMV club scene in 1995, there was no such thing as Partiful or Shotgun or Resident Advisor. If you wanted to go to a rave, you had to be personally shown one of the few joints in town. Brobeck would dance with thousands of others until 9 a.m. with no clue where the DJ booth was and with nothing but a disposable camera to prove it.

D.C. has always had a strong underground music scene, but for years, it was seen as a secondary market for electronic music. Now, industry veterans like Brobeck say the city is entering a new EDM era, with the ability to draw in bigger name acts. New venues like Transmission and Berhta are attracting a wider variety of genres, DJs have fewer barriers to entry, and social media is bringing out bigger audiences than ever before. Over one weekend this April, EDM venues hosted three events that collectively drew more than 20,000 people.

While D.C. will never be able to compete with major cities like New York or Los Angeles, it is “facing the next phase in its evolution,” said Brobeck, a general manager at 

, which opened in the old Rock and Roll Hotel space on H St. NE last year. “ It comes from people believing in this community and believing in the music, and wanting to provide a place where the music can live.”

Want more reporting like this? Sign up for Kaela's culture newsletter "Obsessed."

This summer is definitely shaping up to be a big one for EDM fans: On May 23, the 

 is coming to Alethia Tanner Park with DJs like Duane Powell and The Illustrious Blacks. From May 30-31, the 

 will bring global names to RFK Stadium. With more than 40,000 tickets already sold for each day, this year will be the event's largest yet and the largest in the mid-Atlantic, according to Heather Church, the festival’s vice president.

 on June 20 with The Dare, Yaeji, and the home-grown Rico Nasty. All of this is on top of regular shows at clubs like Echostage (recently ranked by fans as the #6 club in the world by 

) and Flash, which have served the EDM scene in D.C. for over a decade.

“The biggest difference between now and five years ago is abundance,” said Kabir Khanna, the director of Transmission. “Over the summer, it’s just going to get crazier.”

Dance Will Never Die: EDM’s Post-Covid Evolution

D.C.’s EDM rebirth came in the depths of the covid pandemic. After months inside, Washingtonians were itching to party.

“Dance music was in a place where it was like a frenzy,” Khanna said about D.C. in 2022. “People had been sequestered in their rooms, becoming terminally online for a very long time, and a lot of them picked up on DJ culture…People were itching to get involved.”

Post-pandemic, D.C.’s big dance venues like Echostage and Flash found their footing while new ones like Culture popped up, along with underground techno collectives like Lollipop. In the last couple of years, the city has booked huge global names like Mau P, FISHER, Kaytranada, and Zeds Dead.

“Before, a lot of agents would come to us saying they were skipping D.C.,” said Church. “Now, in 2026, it’s what I would call a primary market.”

Social media made it far easier to find out about raves and sets going on all over the city. From my perspective, the rush to the club was undeniable. Suddenly my weekends and social feeds were flooded with random parking lot parties, masked silent raves, and sexy new alt-DJ collectives. And while it’s tempting to lament the scene becoming so mainstream, everyone I talked to seemed to see it as a positive, bringing in more people, more sounds, and more diversity.

“For a long time it was two worlds in D.C. — you either lived in the Capitol Hill World or you were in the alternative scene,” said Amal Handley, a D.C.-based DJ, and one third of the group Black Rave Culture. “Now we're starting to see those two scenes of nightlife join together and those lines start to blur because there's a lot more visibility on dance music.” 

Amal said it’s also easier for new DJs to enter the scene. Just five years ago, even finding clubs or shows to perform was tricky as they were often kept under the radar. “ You had to be in a certain scene and if you weren't in that scene, you didn't even know what's going on,” he said. “Now it's way more inclusive and there's a lot more representation from all different shades of the spectrum.”

Dance music in D.C. has been popular from the beginning. From parties like Buzz at Capital Ballroom (Nation) and Nectar nights at The Edge in the late 90s all the way to the underground raves like Rise in Baltimore, there has been a longstanding history of dance music in the DMV that stems from its counterculture roots.

D.C. was the birthplace of go-go, home to the second wave of punk music, and played a huge role in developing a new DIY ethos. Influential bands like Bad Brains, Fugazi, and Minor Threat came out of the city.

Now, the music has become more palatable for larger groups of people and the venues have become more welcoming community spaces for both alt and “normie” listeners.

“I think now more than ever people are looking to get disconnected and live in the moment,” said Brad Do, the buyer at Berhta who books the DJs and leads marketing efforts.

D.C.’s evolving EDM scene will be on full display this summer as festival season begins, and more and more Washingtonians look for a place to escape the politics and the heat.

Project GLOW will kick everything off next weekend, bringing legends like Chaseonaux, Allycvt, Dimension, and Disco Lines to the RFK Stadium Campus. And if you miss out this summer, organizers say they’re already planning another event on Pennsylvania Ave. for October.

Fueled by new venues and social media, EDM is having a resurgence in D.C. 

The Summer of EDM is About To Hit Washington, DC

The Summer of EDM is About To Hit D.C.

What Washingtonians have been wondering. We break down why things in DC are the way they are and how they work.

DC, Explained

,” director Eli Bauman stood before the audience and instructed them to pretend they had never heard of the Strait of Hormuz. Instead, he asked them to go back to 2008, when HOT 99.5 was pumping out Katy Perry and D.C. felt on the brink of political change.

”The truth of the matter is this show, which happens to be about politics, actually feels like an escape, " says Bauman.

“44” tells the story of the Obama presidency from the perspective of a go-lucky Biden, wistfully observing the trials of Barack (played by T.J. Wilkins) and Michelle (played by Shanice Wilson-Knox) as they navigate their life in the White House

 Written and directed by Bauman, a TV writer and former Obama campaign organizer, it’s a “Hamilton-esq” wet liberal fantasy that had the entire crowd singing “He’s motherfucking Obama” while they fondly reminisced about a bygone era.

Since premiering in L.A. in 2022, the show has been bouncing from city to city in a four-year quest to make itself Broadway-ready. Now, it’s playing at the Shakespeare Theater in D.C. until May 24.

Bauman said that D.C. has been their favorite crowd so far and the shows have consistently been sold out on Fridays and Saturdays.

“There's just a certain level of knowledge [in D.C.] that makes everything land,” said Bauman, “I feel like they've picked up the most on the nuance-y stuff, and also I feel like they could really use a laugh.”

I can’t imagine a more fitting or enthusiastic crowd than the one that filled the Shakespeare Theater last Thursday night. The show’s two hours were packed with Motown grooves, Sarah Palin scream-singing “drill me baby!” in her bra, and jokes that only the most entrenched 2008 hill staffers could decipher. I must admit, even I had a hard time keeping it together when Hilary Clinton whipped off her pantsuit to reveal…another pantsuit.

The audience's frenzy reached its peak when Biden started dancing awkwardly to gogo — a song added specifically for the show’s D.C. run. It was almost as painful as watching Justin Timberlake's 

. (Though, some semblance of self-awareness made it more endearing.)

It was an unabashed love-letter to the Obamas. Though, unfortunately, despite the actors’ great performances, the ungainly reverence given to the first couple makes their scenes some of the most boring in the whole show. Especially when compared to the outrageous but poignant satirical treatment given to Hillary Clinton, Mitch McConnell, and the show's other front-runners.

Bauman first had the idea to write “44” the day after Donald Trump was first elected president. Like many people, he found himself grappling with the question of “what the hell happened?”

”This felt like my attempt at reconciling that question,“ he explained.

It wasn’t until Covid that Bauman said the changes started to become relevant to him personally, pushing him to put pen to paper.

”During COVID it felt more and more relevant to me. And I just had time all of a sudden to do something that, quite frankly, would make no money.”

He never expected it to take off, but said that luck and a few key early decisions set the show up for success.

“There's no Trump in it, and our Biden is 45 years old and has a six pack,” explained Bauman. “Those two decisions made the show somewhat Teflon to the chaos going around.”

According to Bauman, only one character from the show has ever contacted him; Sarah Palin. Apparently, she absolutely 

 the clips she has seen of herself in the show. Which is somewhat surprising as she spends much of it shirtless grinding up against an American flag pole.

“ I think actual Sarah Palin was like, Ooh! I look hot. And was very interested in coming to witness that for herself,” explained Bauman. So, maybe not so surprising after all.

At the end of the show, I was left wanting more and was distraught when Bauman told me they had to cut a whole 90s boy-band-style number called “Gay for the NRA” about Republicans being in love with their guns.

“It was a pure banger. I stand by that, but the audiences…it was just too much for them to handle,” said Bauman. I assured him D.C. audiences would have absolutely raged to it.

Instead, a projection of the Obama family holding hands during inauguration gave a heavy handed-end to our quick but hopeful trip down memory lane. After the show, the harsh comedown to reality was only somewhat comforted by free slices from Gordon Ramsey’s pizza joint and riding a CaBi home in the (finally) warm spring night.

This raunchy love letter to 2008 D.C. by a former Obama campaign staffer left us weeping with laughter and nostalgia. 

'44: The Musical' returns Washingtonians to an old, hopeful DC

The Obama musical returns Washingtonians to an old, hopeful DC

Ashe Durban

Mosh Madness, D.C.’s premier music festival slash basketball tournament is back for its second iteration this spring. On April 11 in the Takoma Park Presbyterian Church’s gym, the DMV’s best and brightest bands will rock out — while teams, made up of D.C. musicians, showdown in a 3v3 basketball tournament below for the title of 

“The Best Band in the DMV (Who Decided to Sign Up For This Particular Basketball Tournament).”

And D.C.’s music scene is behind Mosh’s out of bounds concert: last year it was a smash hit. This year promises to be even bigger, doubling capacity and pulling sponsorships from 9:30 Club, Chuck Levin’s, and more.

On the surface, the festival breaks age-old jock-artist rivalry stereotypes. But according to organizers — Reid Williams and Ian Donaldson, both of the band 

 — the inspiration for the festival was way more utilitarian.

“We’re working musicians who play basketball a lot during the weekdays. And the only people we know that are also available are other musicians, basically. So we have a whole ‘musicians who ball’ community. And the soundtrack is often just our friends' music,” says Donaldson. 

It wasn’t just a love of music and basketball that spawned Mosh Madness. It was a desire to move past the scenes and social groups segmenting D.C.’s music scene.

“I love the fucking diversity here. But with genre, it’s easy for people to silo themselves,” Williams said. The Mosh Madness lineup this year reflects that diversity. In contrast to last year's festival, which leaned heavily on the city’s indie rock scene, this year features a tasting menu of D.C.’s musical palate. D.C. indie’s finest 

, an award winning Jazz-Go-Go band, rapper-sculptor 

But is it a basketball tournament? Or a music festival?

“It’s performance art, it's a bit campy. I would urge people to come for high quality music, not high quality basketball.” said Donaldson. Williams describes it as an IRL version of those brainrot videos where audio content is paired with subway surfer compilations, for the severely attention-impaired.

In that way, it’s an occasion born from the Gen-Z zeitgeist. But in other ways, it fits neatly into D.C.’s music history. All the proceeds will be donated to the 

, placing Mosh Madness in the long line of D.C.’s benefit festivals dating 

back to the 80s with music collectives like Positive Force

. They’re also not the first Washingtonians to use a basketball tournament as a vessel for change. Metroball famously promoted youth mentorship and community intervention in their annual 

At the heart of it, Williams and Donaldson just want to bring different parts of D.C. together for a good cause. “ I hope that they come away with the more philosophical take of ‘We're not so different you or I, music and basketball, they're all just fun things people like to do.’”

Mosh Madness tips off at 2:30 p.m. on Saturday, April 11 at Takoma Park Presbyterian Church. 

 (but add a donation on top!) and moving fast.

 | April 11 | $20 | Takoma Park Presbyterian Church

 (Techno) | April 17 | $9-25 | Transmission

Consumer Culture, XK Scenario, Miracle Blood

 and local underground legend Oddisee on this bright new single from their upcoming collab project “From Takoma With Love” out April 29.

Mosh Madness, D.C.’s premier music festival slash basketball tournament is back for its second iteration this spring. On April 11 the DMV’s best and brightest bands will rock out — while teams showdown in a 3v3 basketball tournament below.

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