District Fray Magazine // November 2021

The Britney Spears Musical Arrives | Hidden D.C. Trails | Mission-Driven Food Hall Market 7 | The Culture of Absinthe

9:30 Club’s Triumphant Return

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BOUNCE BEAT + BEYOND

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26 ARTISTS TO WATCH

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20 VENUES TO VISIT

10 NEW RELEASES TO STREAM

LIVE MUSIC PUNK’S NOT DEAD

IS BACK

A LIFESTYLE + ENTERTAINMENT MAGAZINE · NOVEMBER 2021

JOHN LLOYD YOUNG’S BROADWAY! MUSIC DIRECTION BY TOMMY FARAGHER

CALIFORNIA GUITAR TRIO TRACE BUNDY

NOV 11 | 8 PM

NOV 18 | 8 PM

NOV 20 | 8 PM NOV 21 | 7 PM

TIME LOVES A HERO; A TRIBUTE TO LITTLE FEAT

MEOW MEOW

PAUL THORN

NOV 27 | 8 PM

APR 20 | 8 PM

APR 27 | 8 PM

JOAN OSBORNE

NEWMYER FLYER PRESENTS:

AN ACOUSTIC CHRISTMAS WITH OVER THE RHINE

AN EVENING WITH BRANFORD MARSALIS

CHRISTMAS WITH CANTUS

ENTER THE HAGGIS

CHAMBER MUSIC AT THE BARNS

BUSH/MARSHALL/ MEYER/MEYER

DEC 2

LESSONS AND CAROLS FOR OUR TIME DEC 3

MASTERS OF HAWAIIAN MUSIC: GEORGE KAHUMOKU JR, LED KAAPANA & HERB OHTA JR. JAN 20

JAN 26 + 27 JAN 28

SAM BUSH, MIKE MARSHALL EDGAR MEYER, GEORGE MEYER FEB 2 + 3

ANA POPOVIC FEB 4

1964 THE TRIBUTE FEB 11 + 12

THE SECOND CITY FEB 24 + 25 FEB 26 | 2 SHOWS! FEB 27

33RD ANNUAL EVENING OF COMEDY APR 15 APR 16 | 2 SHOWS!

AND MANY MORE!

TABLE OF CONTENTS

RADAR

5 Local Folk-Soul Artist Neffy 8 November Calendar

CULTURE

67 The Britney Spears Musical

LIFE

EAT

69 New “FUTURES” Exhibit

18 Mission-Focused Market 7

72 Emergent Seed Artists

DRINK

PLAY

ROBERT KINSLER

Publisher robert@unitedfray.com

MONICA ALFORD

Editor-in-Chief + Director of Media monica@unitedfray.com

ANDREW J. WILLIAMS III

Managing Editor andrew@unitedfray.com

20 The Culture of Absinthe

74 Hidden Trails of D.C.

MUSIC

FUN

Editorial Assistant nicole@unitedfray.com

34 D.C. Artists to Watch

SEEN

Editorial Designer julia@unitedfray.com

7 Lucky Dog Gala on 10/9

40 Revamped Music Venues

12 Trailblazers on 10/20

Key Account Manager tomroth@unitedfray.com

24 Live Music is Back 25 I.M.P. Venues Return 29 Punk’s Not Dead

78 Live Music Is Back Crossword

46 Alive + Kicking Illustration 48 New Local Releases 58 Backstage Pass Photo Essay 64 Bounce Beat + Beyond

NICOLE SCHALLER

JULIA GOLDBERG

TOM ROTH

MARTIN ESPINOZA

Senior Director of Events martin@unitedfray.com

81 A Legendary Storyteller

The District Fray team at The Wharf. L TO R. Julia Goldberg, Monica Alford, Nicole Schaller + Andrew J. Williams III.

CONTRIBUTING WRITERS Erin Clancy, Trent Johnson, Colleen Kennedy, Stefan Lizarzaburu, Abi Newhouse, Maliik Obee, Brandt Ricca, Rin Ryan, Kristen Schott, Courtney Sexton, Amanda Weisbrod CONTRIBUTING EDITOR Jamie McCrary CONTRIBUTING ARTISTS + PHOTOGRAPHERS Amanda Gann, Kimchi Photography, Rich Kessler Photography, Benjamin Slyngstad, Scott Suchman, Amanda Weisbrod COVER PHOTOGRAPHER Scott Suchman ON THE COVER 9:30 Club

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COVER LOCATION Shaw

LETTER FROM THE EDITOR

LIVE MUSIC IS BACK. To say I’ve been excited to bring the Local Music Issue back for the past 20 months is an understatement. Our November issue has always been one we’ve taken great pride in, a time to celebrate all that D.C.’s music scene has to offer. It broke our collective heart not to publish an issue devoted to our local artists and venues last fall. We did, however, highlight as many musicians as possible during the pandemic: how they were faring, how they were staying creatively motivated during a harrowing time and how the local community could support them. And last December, we highlighted the Save Our Stages Act and all of the incredible work I.M.P.’s Audrey Fix Schaefer has done to be a voice for independent venues — both in D.C. and nationally. And now, we have the opportunity to celebrate live music’s triumphant return. A cover shoot with the iconic 9:30 Club has long been on our list, and we are eternally grateful to Fix Schaefer for giving us access to a rarely seen view of the club from the rooftop of a swank apartment building across the street. Watching the palpable energy from the line of concertgoers wrapping around the block during dusk from a perch up above while the incomparable Scott Suchman captured the scene with a quiet intensity was easily one of my favorite moments in recent history.

This month, we’re celebrating as much about D.C. music as possible. We took a deep dive into the resilience of the punk and DIY scene and the future of D.C.’s dynamic go-go movement, and rounded up 26 local artists to put on your radar, 21 revived and/or new venues in the area and 10 new releases from D.C. musicians to add to your daily playlist. Plus, a stunning photo essay pairing local bands with the venues that have supported them; an illustration of some of our most beloved spots to catch a live show; a crossword fit for a D.C. music nerd; profiles on Tiny Desk Contest winner Neffy and legendary R&B historian Sandra Butler-Truesdale; and a look into how I.M.P. venues 9:30 Club, The Anthem, Merriweather Post Pavilion and Lincoln Theatre have pivoted and bounced back in recent months. Beyond the world of local music, we dug into the culture of absinthe; new food hall Market 7’s commitment to supporting D.C.’s wards in need; the brand-new Britney Spears musical “Once Upon a One More Time”

making its debut in the nation’s capital; Smithsonian’s highly anticipated “FUTURES” exhibit; creative incubator Emergent Seed’s latest endeavors; the city’s “secret” trails to explore; and much more. We’re also still riding the high from two successful events in partnership with Events DC during the last month to highlight the themes of our September and October issues: Cue the Lights, a celebration of the return of the performing arts, and Trailblazers, an entrepreneurship panel. Stay tuned for our upcoming events: November’s Bounce Beat + Beyond at Lincoln Theatre highlighting the rich culture of our go-go scene and December’s For The Love of D.C., our love letter to the city featuring artistic curation from cover subjects Trap Bob and Chris Pyrate. We can’t wait to see you there and thanks, as always, to our readers for helping us share your stories.

MONICA ALFORD EDITOR-IN-CHIEF

The District Fray team with writer Colleen Kennedy at AutoShop in Union Market for our Trailblazers Panel. L TO R. Nicole Schaller, Julia Goldberg, Monica Alford, Colleen Kennedy + Andrew J. Williams III.

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SCAN FOR MENU & LOCATIONS

SPREADING GOOD VIBES ONE BLOCK AT A TIME! SOUTHBLOCK.COM INSTAGRAM @SOUTHBLOCK USE CODE DCFRAY5 FOR $5 OFF YOUR ONLINE OR APP ORDER

WORDS BY NICOLE SCHALLER

Stripped down from grand optics, props or accompanying band instruments, Neffy sings into a microphone while playing her guitar and sitting behind a desk. The simplicity of the setup leaves nothing to hide behind — and Neffy doesn’t need anything. Her captivating, rich vocal depth and control, along with the poignant lyrics of her original song “Wait Up,” shines through in her three-minute NPR YouTube video entry.

There’s a power behind her voice that is both haunting and moving. For anyone who watches the clip, it is no surprise that Neffy beat out thousands of unsigned artists who submitted original songs and videos to NPR’s 2021 Tiny Desk Contest.

An Arlington native, Neffy’s win last month brought local pride for the DMV and was years in the making. Neffy previously submitted entries to the Tiny Desk Contest in 2018 and 2020. With such talent, it’s a mystery how the folk-soul artist only now is getting noticed. One difference this year was her approach.

“I kind of just submitted on a whim,” Neffy says. “I wasn’t 100% sure if I was going to do it again or not. And then last minute, I decided to submit.”

Her last-minute decision paid off. Not only did she win, but she is receiving wide praise from listeners. Scrolling through the winning video’s comments is exclusively positive for both song and singer — a miraculous feat in the digital age.

FINDING INSPIRATION IN UNCERTAINTY Neffy was inspired to write “Wait Up” following her return to the DMV. After five years living in New York City and studying at The New School, Neffy moved back to Arlington to live with her parents during the pandemic.

“I was really inspired by the environment that raised me,” Neffy says, who also noted her love of the area’s nature. “I felt disconnected from here while living in New York. The pandemic gave me the chance to come home, and come home to myself. That was the grounding force for writing ‘Wait Up.’” The song evokes both fatigue and longing to be home with the lyrics: “I’m stuck/and the city’s got its grip on me/and I’ve had enough.”

A reflection on her personal experience, “Wait Up” resonates for many. In our turbulent times, people yearn for home — and finding home continues to be prevalent.

“I think everyone at some point in their lives gets disconnected from home, wherever home is,” Neffy says. “It doesn’t have to be a physical sense. It can be a spiritual or emotional state of being. Life can tousle you, and pull and push 6

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you into places you might not really want to be in. You look back and can’t believe how far away you are from where you came from. So, the song could be a testament to wherever someone is in their life.”

Neffy’s profound storytelling through lyricism is a signature feature in her work. Her self-released 2020 debut album “I Don’t Miss You” is centered on the different stages of going through a breakup: mourning, grief, resentment and acceptance. While breakup songs are not new, each song’s words grip your soul.

She laughingly notes, “Songwriting is pretty much writing in my diary.”

Her pain is visceral with every tonal inflection in her song “Like You Did,” which she sang as the opener in her Tiny Desk Concert performance. Inspired by singers like Adele, Jacob Banks and Amy Winehouse, she has mastered how to elicit emotion through her vocals.

HITTING HER STRIDE At 13, Neffy began writing songs and coming up with melodies, and learned the guitar soon after. Although no one was a musician in her family, their love for listening to music led her to make it her passion and career.

“Music was the foundation for me growing up,” she says. “I remember sitting at home with my dad listening to music. He was a jazz head. My brothers and mom had an influence as well. I come from a musical family in terms of our appreciation.”

Despite her impressive vocal control and tone, Neffy is not classically trained. She credits her musical knowledge and skills to her high school choir.

FIRST PAGE. Photo by Jati Lindsay // @jatiphoto. SECOND PAGE. Photo courtesy of subject.

DISTRICT DENIZENS | RADAR “I was in a choir called Magicals. The only reason I wanted to go to that particular high school was because I heard them sing when I was in middle school at a concert. I was in the school’s top choir and I got in my sophomore year.”

From there, Neffy had opportunities to travel to New York City and Orlando for competitions and build a supportive network with her choir teacher and friends.

“Choir is all I really cared about. I had my studies and everything, but when I look back at high school, everything else fades away because choir was the one thing that sustained me.”

This positive experience led her to move to New York City for college and later pursue music. Before the pandemic hit, Neffy performed over 100 concerts on the East Coast, which were a crucial part of her development as an artist.

“I love in-person shows, of course, because I am in a physical space with other people,” she says. “That’s how I started to be seen and get much more professional. I always like seeing the couples who cuddle or kiss, or seeing someone spill their soda on the floor. These elements make me very comfortable.”

Not able to perform onstage during quarantine, Neffy found livestreaming as the best way to still reach audiences.

Livestreamed performances offer people the chance to comment and react in real-time. “[These] are great because they help fill the void of not having in-person shows. We are definitely still in a weird limbo in a lot of aspects of our lives.”

Neffy ultimately viewed the pandemic as a time for her to continue working toward her musical goals. She also won a fellowship in 2020 from Emergent Seed, a local organization

that supports emerging music artists through grants and by offering a platform to perform.

“The pandemic definitely pushed me to become more of who I was as an artist,” Neffy reflects. “I felt an obligation to myself to continue the work I was already doing for five years as an artist — pandemic or not.”

GOING HOME AGAIN After well over a year-and-a-half, Neffy sang at her first inperson performance last month at Brentwood Arts Exchange.

While no shows are planned for November, Neffy is looking forward to hopefully touring and performing more live in the near future. In the meantime, we all can watch her Tiny Desk Concert performance, which dropped on October 27. As to whether she has plans to move back to New York City, Neffy is in no rush.

“I’m happy where I am right now,” she says. “I like this area because it’s a lot quieter than New York City. It allows a chance to be a bit more introspective, which helps me continue to write my songs.”

Listen to her album and single “Wait Up” at neffy.bandcamp.com and stream her latest single “Youth” on Spotify. Check out Neffy’s Tiny Desk Performance at npr.org or on NPR Music’s YouTube channel. To learn more about Neffy, follow her on Instagram @byneffy.

SEEN

LUCKY DOG’S 8TH ANNUAL CASINO NIGHT. Animal lovers decked out in their finest glittering apparel were transported back to the Roaring ’20s to attend Lucky Dog’s annual event on October 9, which raised $144,591 to save at-risk and homeless animals from certain euthanasia. Photos by Amanda Gann.

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RADAR | CALENDAR

With fall steadily approaching and available daylight hours dwindling, take advantage of ways to stay active by attending events such as outdoor yoga at the National Building Museum, or a live action murder mystery scavenger hunt. As always, you can count on our Radar to be your social calendar co-pilot. COMPILED BY ERIN CLANCY + STEFAN LIZARZABURU NOTE: All descriptions courtesy of event hosts and edited for clarity.

11.1 BEABADOOBEE

Filipino-British singer-songwriter beabadoobee is coming to 9:30 Club on November 1. Her 2021 EP “Our Extended Play” is a collaboration with the 1975’s Matty Healy and explores ’90s guitar-pop. She’s come far from her start on TikTok, and her show is not to miss. 7 p.m. $25. 9:30 Club: 815 V St. NW, DC; 930.com // @930club

DÍA DE LOS MUERTOS AT THE NATIONAL PORTRAIT GALLERY

Celebrate el Día de los Muertos with an outdoor festival of music and art at the National Portrait Gallery. Join in creating a community altar on the museum’s steps while discovering more about the history and mythology behind el Día de los Muertos. Then, at dusk, artists MasPaz and Guache will project a two-hour live digital painting, video and sound performance onto the G Street and 9th Street façades of the museum’s building to honor D.C.’s Latinx community. 6:30-8:30 p.m. Free.

National Portrait Gallery: 8th and G Streets, DC; npg.si.edu // @nationalportraitgallery 8

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11.2 LESBIAN SPEED DATING

This event offers a fresh alternative to speed dating and matchmaking. We don’t find anything romantic about whistles, name-tags or over-the-top party trimmings typically found at singles events so we have done away with them. Creating an atmosphere that is at once casual and comfortable, it’s what we call cheeky chic. 6-8 p.m. $29.95+ Bar and Lounge 54: 1207 19th St. NW, DC; barandlounge54.com // @barandlounge54

11.2-1.2 “RENT”

La Vie Boheme! The iconic rock musical’s pure rush of adrenaline, passion, energy and joy is boldly and immersively reimagined in Signature style for a triumphant reopening. At the end of the millennium, a group of bohemians in the East Village of New York City struggle with gentrification, love, loss and legacies amidst the HIV/AIDS crisis. Through songs Rock The Core. Photo from thetasteofdc.com.

such as “Seasons of Love,” “One Song Glory,” “I’ll Cover You,” “Out Tonight” and more, they embrace hope, find strength and survive. Winner of the Tony Award and the Pulitzer Prize, Jonathan Larson’s groundbreaking phenomenon defined a generation as it redefined the American musical and has never been more essential in today’s world. Various times and dates. $40+ Signature Theatre: 4200 Campbell Ave. Alexandria, VA; sigtheatre.org // @sigtheatre

11.3 CINOMATIC PRESENTS: “CRAZY RICH ASIANS”

“Crazy Rich Asians” comes to the screen as a part of NoMa’s ongoing outdoor film series CiNoMatic. Continuing on the reignite your wanderlust theme, get lost in the film’s explorations of love and family — and Singapore. 6:10 p.m.

Free. Alethia Tanner Park: 227 Harry Thomas Way NE, DC; nomabid.org/cinomatic // @noma.bid

MICROCINEMA: KIMSU THEILER

Rhizome’s monthly microcinema continues with New York filmmaker and sound artist KimSu Theiler in the performance “HE TAKES A PICTURE,” featuring live sound accompaniment “a Variation on the Theme FRIGID NONSENSE (classifying Polar Expeditions) IN THE STUDIO.” KimSu Theiler is an artist who has been making noise for nearly 50 years. 7 p.m. $10.

Rhizome DC: 6950 Maple St. NW, DC; rhizomedc.org // @rhizome_dc

11.4 EAT.DRINK.SHAW…REIMAGINED

An eat-and-drink progressive experience in Shaw, with food vouchers valid for food items or beverages at 30 participating establishments, each $100 ticket is worth about $300 in food and drink. Proceeds support Shaw Main Street’s commercial revitalization, historic preservation and neighborhood beautification. 5-8 p.m. $100. Various locations. shawmainstreets. org // @shawmainstreets

MOTHER OF ALL COMEDY SHOWS

The MOTHER of All Comedy shows brings together amazing local and regional comedians for a hilarious standup comedy show presented at Busboys and Poets. This show is comedy by women and funny for everyone so bring your boo, your bestie, your boss, your babe (18+ please) and get ready for the laughs.

8:30 p.m. $10-$15. Busboys and Poets Takoma: 235 Carroll St. NW, DC; busboysandpoets.com // @busboysandpoets

11.5 BEST BUDDIES: CHAMPION OF THE YEAR

A night of celebration and recognition with Best Buddies, the nonprofit organization that creates employment and leadership development opportunities for people with intellectual and developmental disabilities. The event will celebrate the 10 nominees for “Champion of the Year,” with chefs from the D.C. area providing food for the event. 6:30 p.m. $150. Ronald Reagan Building and International Trade Center: 1300 Pennsylvania Ave. NW, DC; bestbuddies.org/vadc //@bestbuddiesvadc

HAPPY HOUR FLOW YOGA

Happy Hour Flow Yoga with Thrive Yoga instructor Katie is back at True Respite. Classes are the first Friday of each month from 5:30-6:30 p.m. Join us for a one-hour yoga class then follow up your shavasana with one of True Respite’s refreshing brews.

Various times. $45. True Respite Brewing Company: 7301 Calhoun Pl. #600 Rockville, MD; truerespite.com // @truerespite

MAX AMINI LIVE IN WASHINGTON, D.C. - 2021 TOUR

Max Amini is back on the road with a hilarious new postpandemic comedy set. Known for his impressions, storytelling and enthusiastic interactions with the audience, Amini has made over 50 appearances in film and TV, ranging from NBC’s “Heroes” to Comedy Central. Pulling from his Persian upbringing, Amini blends social trends, cultural references and side-splitting impressions to keep audiences laughing throughout the show. $35+. 8 p.m. Lisner Auditorium: 730 21st St. NW, DC; events-venues.gwu.edu // @maxcomedian

11.6 BRAZILIAN FOOD COOKING CLASS

Join this one-night virtual class and learn how to make the traditional Bahian dish bobó de camarão — a blend of coconut milk, shrimp and cassava. The dish is traditionally served in a pumpkin or gourd, making for a perfect autumnal recipe. 7:30-9 p.m. $29. Virtual. baccdc.org // @capoeirabarrovermelhousa

DC BEER FEST

The DC Beer Festival finally returns to Nationals Park, bringing together dozens of craft breweries featuring fall seasonal beers.

Taking place throughout the stadium’s concourse including Centerfield Plaza, Budweiser Brew House, Bud Light Loft and Budweiser Terrace, the DC Beer Fest will have over a dozen food trucks throughout as well as lawn games, DJs and more.

12-8 p.m. $50+. Nationals Park: 1500 South Capitol St. SE, DC; dcbeerfestival.com // @dcbeerfest

DÍA DE LOS MUERTOS BENEFIT FESTIVAL

Join for a celebration of Día de los Muertos on the National Mall. There will be a Catrinas Parade, an art and music festival, opportunities for community advocacy and more. 10 a.m. midnight. Free. National Mall: 3rd Street + Madison Dr. NW, DC; ddlmdc.com // @ddlmdc

DÍA DE LOS MUERTOS FEST

A celebration of Día de los Muertos at the Catholic University of America, intending to honor the richness and diversity within Mexican culture. There will be tons to offer — from live mariachi bands, Mexican foods, folklórico dancing and more. 11 a.m. - 6 p.m. Free - $20. Edward J. Pryzbyla University Center at The Catholic University of America: 620 Michigan Ave. NE, DC; basilisempire.com // @basilisempire

THE GOOD BRUNCH

Enjoy an unmissable brunch at Ella Grace DC. There’s food prepared by Chef Chris, drink prepared by Diggs, and music curated by DJ Analyze. 12 pm. Free. Ella Grace DC: 1421 H St. NE, DC; ellagracedc.com; @love_ella_grace // @chefnuffin; @steamrollemdiggs; @djanalyze

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RADAR | CALENDAR THE REDEYE NIGHT MARKET

No Kings Collective and Events DC have come together to create the REDEYE Night Market — an open-air market celebrating the foods and cultures of the Asian diaspora. They strive to support small businesses in the District and give folks a night of celebration, community and discovery. 4 p.m. - 12 a.m. Free.

Pennsylvania Avenue NW between 3rd and 7th Street: Pennsylvania Avenue in NW, DC; nokingscollective.com // @nokingscollective

“THE WALL/EL MURO: WHAT IS A BORDER WALL?”

Over the coming years, the U.S./Mexico border wall will be the focus of much public conversation. This National Building Museum exhibition will situate the wall in a wider, international context of shifting border lines, the early construction of border fences, and old and new border walls throughout the world. Ultimately, “The Wall/El Muro” will argue for a more nuanced understanding of the borderlands and new ways for visitors to think about this issue moving forward.

Multiple times and dates. Free. National Building Museum: 1 F St. NW, DC; nbm.org // @nationalbuildingmuseum

11.6-11.7 CALEDON STATE PARK ART AND WINE FESTIVAL

Enjoy a nice autumn weekend at Caledon State Park, while enjoying local wineries, works from local artists and great live music. Multiple times and dates. $20. Caledon State Park: 11617 Caledon Rd. King George, VA; caledonstateparkfriends.org

Fruit Favorites Gift Box ONLY

$2399* Special, limitedtime offer!

SAVE $15!

Reg. Price $37.99

COME HOME: A CELEBRATION OF RETURN

The triumphant return to live music at the Kennedy Center, featuring the first WNO presentation of the Kennedy Center 50th Anniversary season. This star-studded performance will feature the likes of Pretty Yende, Isabel Leonard, Christian Van Horn and more. Multiple dates and times. $45-$299.99. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

11.7 FRESH TALK: WITNESS — CAPTURING MOMENTS AND MOVEMENTS

The Covid-19 pandemic has exacerbated critical issues of social injustice, leading to widespread attention and new waves of activism. However, the movements behind these issues have been growing for decades, if not hundreds of years.

Artists have long played a unique role by bearing witness by capturing specific moments in time, as well as the spirit of collective movements for change. Join us for a conversation with artists Delphine Fawundu and Januwa Moja Nelson about the ways art can bear witness to social movements and our shared humanity. 4:30-6 p.m. Free. Virtual. nmwa.org // @ womeninthearts

HOPPY HOUR AND MEDITATION WITH BUNNIES

Bunnies will be visiting from Tripple Spring Farm from Brandywine, Maryland, for Hoppy Hour, which includes a short, guided meditation. Included in your ticket is a beer of choice for those of age. Space is limited. Bring your own yoga mat or towel to sit on, and please wear a mask to keep everyone safe. 10 a.m. $30. Aslin Beer Company: 847 South Pickett St. Alexandria, VA; aslinbeer.com // @aslinbeerco

11.9 VIRTUAL HAPPY HOUR: FLORIDA ARTISTS CELEBRATION

Join staff of the National Museum of Women in the Arts for a virtual happy hour to learn more about Florida artists in the Gadsden Arts Center & Museum and NMWA Permanent Collections. We will make a specialty cocktail in honor of the artists’ work, share artworks and stories, and take a deeper look at women artists in Florida: Beth Appleton, Marisa TelleriaDiaz, Alyne Harris, Mildred Thompson and Ruby C. Williams.

Registration is required. 5:30-6:30 p.m. Free. Virtual. nmwa.org; @womeninthearts // gadsdenarts.org; @gadsdenarts

11.10 CINOMATIC PRESENTS: MAMMA MIA

Call 1-866-609-2899 to order item 296X or Visit HaleGroves.com/H2YF64

The final installation of the CiNoMatic outdoor film series closes with a screening of Mama Mia, the instant-classic family favorite. 5:15 p.m. Free. Alethia Tanner Park: 227 Harry Thomas Way NE, DC; nomabid.org/cinomatic // @noma.bid

* Only $23.99 (reg. $37.99) plus $5.99 shipping and handling per pack to 48 contiguous states. Some restrictions may apply. IC: H2YF64

The Flaming Lips. Photo by Blake Studdard, Atria Creative // press.warnerrecords.com.

FORE THE LADIES INTRO-TO-GOLF EVENT

Fore the Ladies is making its return to Washington, D.C., for another intro-to-golf clinic! If you’ve never picked up a golf club or have minimal experience with the game but want to give it a try — this event is for you. We’ll warm up with some beverages and light introductory instruction from the pros. They’ll show you the basics of the game so you can decide if you’d like to continue your journey with golf. Don’t have golf clubs? No problem, we’ll have sets on hand for you to try. 6 p.m. $35. Five Iron Golf: 575 7th St. NW, DC; foretheladies.net // @foretheladies

QUEER TRIVIA AT THE DEW DROP INN

Come join your favorite trivia mistresses at the Dew Drop Inn (2nd floor) every second Wednesday for your monthly dose of all things nerdy and LGBTQ+. You can play individually or with a team (six people max please). Or come by and meet some new queer friends and start a winning team. 7-9 p.m. Free. Dew Drop Inn: 2801 8th St. NW, DC; dewdropinndc.com // @thedewdropinndc

11.10-12.5 “TUESDAYS WITH MORRIE”

Based on the best-selling memoir, “Tuesdays with Morrie” is the powerful and moving story of Mitch Albom, a hard-driving sportswriter, and Morrie Schwartz, his former college professor.

Directed by Jenna Place, this tender yet profound play recounts

the two men reuniting as Morrie faces his own mortality as an ALS patient. What starts as a simple visit turns into a weekly pilgrimage and a beautiful lesson in humanity, compassion and friendship. Various times. $30-$60. Theater J: 1529 16th St. NW, DC; theaterj.org // @theaterjdc

11.10-12.12 TORPEDO FACTORY ART CENTER FALL SALON

Target Gallery introduces a new art sale this year to support affordable art buying for art lovers and collectors. This special exhibition features 70 original works by artists local to the greater D.C. metropolitan region. Each piece is priced no more than $1,000. The Fall Salon is a great way to support the region’s artists, as they receive 70% of the proceeds. The remaining will support exhibitions and programs at the Torpedo Factory Art Center and Target Gallery. 10 a.m. - 6 p.m. Free. Torpedo Factory Art Center: 105 N Union St. Alexandria, VA; torpedofactory.org // @torpedofactory

11.11 YONDER MOUNTAIN STRING BAND

For 20 years, Yonder Mountain String Band has been redefining bluegrass music by pushing the envelope into realms of rock ‘n’

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RADAR | CALENDAR roll and improvisation. The combination of the band’s unique personalities, their jam band fan culture and their collaborative effort on writing and arranging original songs which span multiple genres attract a freewheeling jam crowd. 9:30 Club: 815 V St. NW, DC; 930.com // @yondermountain

11.12-11.13

you’re in a pitch-black room. You may have heard about the blindfolded dinner, but we assure you, this experience is completely different. When you are forced to close your eyes from the blindfold, your mind knows it’s supposed to be dark.

When your eyes are wide open and you cannot see anything at all, your psyche is challenged to a whole different level. Your other senses begin to go into shock but then kick into full gear.

Test your senses firsthand. 6:30-8:3o p.m. $92. Abigail: 1730 M St. NW, DC; abigaildc.com // @abigailnightclub

DINING IN THE DARK

Join us for an experience that will be sure to blow your senses away. Dining in the Dark heightens your other senses when

SEEN

TRAILBLAZERS: AN ENTREPRENEURSHIP PANEL. On October 20, Maggie O’Neill led a dynamic discussion with Amir Browder, Kate Goodall, Pierre Edwards, Joy Kingsley-Ibeh and Joe Lapan at AutoShop in Union Market District for District Fray and Events DC’s second “For The Love of D.C.” event. Photos by Kimchi Photography.

12 | NOVEMBER 2021

EMBARK GALA

In celebration of Dance Place’s continued charge forward, we hope you will join us for the EMBARK Season Gala: a two-night event including in-person and virtual viewing options. This year’s gala will feature performances by Dance Place’s current Artists in Residence Tariq Darrell O’Meally and Britta Joy Peterson, dance duo slowdanger and Gesel Mason, and artists from our youth programs. To make sure our entire community can access this spectacular program, the Saturday night performance will be livestreamed. Various times. $175.

Dance Place: 3225 8th St. NE, DC; danceplace.org // @danceplacedc

11.13

ready to crawl. 2-10 p.m. $20-$30. Provision 14: 2100 14th St. NW, DC; provision14.com // provision_dc

LIVE ACTION MURDER MYSTERY AND SCAVENGER HUNT

Take part in a scavenger hunt and murder mystery at the same time. Throughout the afternoon, as you compete in tasks and retrieve items and information, more clues will be revealed pointing to the murderer, the weapon and the location. The winner will be the one who earns enough points through various challenges and collects enough items that can be used to help decipher the basics of the crime. Put on your detective hats as you team up and search for clues. 11:30 a.m. - 3 p.m. $20. Rosslyn Metro Stop: 1850 N Moore St. Rosslyn, VA

ROCK THE CORE

ADRIANNE LENKER

A celebration of cider, beer and great tunes, Rock the Core transports the orchard to your mug with more than 50+ ciders and craft beers offered on site. Sip on a Granny Smith, swig a sweet Golden Russet and discover untapped apple flavors while savoring local eats and live entertainment. 2-4 p.m. $24.99-$75.99. Hook Hall: 3400 Georgia Ave. NW, DC; drinkthedistrict.com // @drinkthedistrict

THE HENNY CRAWL

11.14

Adrianne Lenker is the frontwoman for the band “Big Thief,” and is a successful solo singer-songwriter. She released two records in 2020, “Songs” and “Instrumentals,” both of which are stunningly gorgeous intimate experiences. She’s set to take the stage at Lincoln Theatre. 8 p.m. $31. Lincoln Theatre: 1215 U St. NW, DC; adriannelenker.com // @adriannelenker Calling all DMV henny enthusiasts. Finally, a bar crawl made just for you. We have all heard of or been a part of an epic henny fueled story. Join us as we celebrate our love for this wonderful beverage as we pair it with great music multiplied by seven dope venues. Your drink pass is valid for one complimentary cup of Hennessy. Enjoy the vibe of the first venue, then get

DRAG QUEEN STORYTIME

Join for another edition of Drag Queen Storytime in Unity Park, hosted by Venus. The mission behind Drag Queen Storytime is to inspire a love of reading, while teaching about self-love and

INTRODUCING OUR NEW

COMMUNITY

EVENTS CALENDAR

Welcome to our hub for discovering exciting new events occurring around the DMV. All of our community events will be submitted by readers and local partners like you who are the heartbeat of D.C. and tapped into the latest cultural happenings.

VISIT THE NEW COMMUNITY CALENDAR

Have an event in mind that you want to share?

Visit districtfray.com/community-events.

RADAR | CALENDAR appreciation of others. 11 a.m. Free. Unity Park: Intersection of Columbia Road, Champlain Street and Euclid Street in NW, DC; admodc.org // @admobid

11.19

YOGA AT THE NATIONAL BUILDING MUSEUM

Explore the story of one of hip-hop’s most iconic brands as Lyricist Lounge celebrates its 30th Anniversary with a special one-night only event showcasing Rakim, Slick Rick, DJ Jazzy Jeff, KRS-One and more. 8 p.m. $39-$140. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Rise and shine at the National Building Museum. Join Beth A. Wolf for a mellow, all-level yoga class under the colossal, 75-foot-tall Corinthian columns in the Great Hall of The National Building Museum, America’s leading cultural institution devoted to interpreting the history and impact of the built environment. The NBM is located just four blocks from the National Mall, directly across the street from the Judiciary Square Metro (Red Line). All are welcome–the class is open to brand new and seasoned yogis alike. Please purchase tickets in advance and BYO yoga mat. 10-11 a.m. $20. National Building Museum: ​​1 F St. NW, DC; nbm.org; @nationalbuildingmuseum // bethawolfe.com; @bethawolfe

11.16 THE FLAMING LIPS

Three-time Grammy Award winners The Flaming Lips are one of the most enduring, influential, unpredictable and universally respected bands of their generation or any other. Led by Wayne Coyne, they have been cited as the ultimate live attraction and life-affirming festival band who continue to dazzle audiences with their over-the-top, maximalist, high-energy onslaught on the senses. 8 p.m. $50-$95. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com; @theanthemdc // flaminglips.com

MARCH OF DIMES HEROINES OF WASHINGTON AWARDS GALA

The Annual March of Dimes Heroines of Washington Gala will honor women who exemplify leadership and are making a difference in our community and beyond. From CEOs to young professionals, this year’s finalists will be recognized for their significant volunteer contributions at a black-tie awards dinner on November 16 at the Ritz-Carlton in Tyson’s Corner.

6 p.m. $300. The Ritz-Carlton: 1700 Tysons Blvd. Mclean, VA; marchofdimes.org // @marchofdimes

11.18 BREWS AND VIEWS

Celeste Beatty, founder of the Harlem Brewing Company, hosts a monthly happy hour to highlight topics in beer making, the restaurant industry, art, politics, culture and more. In this conversation, Beatty will be joined by Kendra Woods of Sylvia’s Restaurant. They will discuss the importance of entrepreneurship, small businesses and shopping local. Before the conversation, bartenders from Chocolate City’s Best will demonstrate how to make a signature cocktail and mocktail and offer a beer pairing for the conversation. 5:30-6:30 p.m. Free.

Virtual. nmwa.org // @womeninthearts

14 | NOVEMBER 2021

RAKIM, SLICK RICK, DJ JAZZY JEFF, AND KRS-ONE

WHISKEY WASHBACK DC

Celebrate the remarkable and rebellious legacy of whiskey and the people that keep it alive today. This all-inclusive ticket grants you access to over 75 types of premium whiskey, bourbon, rye, scotch and more from Tennessee, Kentucky, Scotland, Australia, PNW and other regions – including 15-year and older premiums.

Additionally, enjoy savory tastings and light bites from local culinary favorites. 6-10 p.m. $125-$150. The Schuyler: 1001 14th St. NW, DC; bowerycollective.com // @bowerycollective

11.20 BOURBON & BUBBLES

You’re invited to a spirited evening beneath the stars supporting Wolf Trap Foundation’s arts and education programs. Experience distinctive bourbon, unique champagnes and handcrafted cocktails by award-winning mixologists while noshing on gourmet fare at the new open-air Pavilions at Wolf Trap. You’ll top the night off with roasted gourmet s’mores at our festive fire pits.

This beloved event has become a Wolf Trap tradition that offers something for everyone, from the knowledgeable adult beverage enthusiast to the casual dabbler. And, the entire event takes place safely (and warmly) outdoors at America’s only National Park for the Performing Arts. 6 p.m. $250. The Pavilions at Wolf Trap National Park: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

PURPLE MUSICOLOGY: A TRIBUTE TO PRINCE

Martin Kember and his band The Unit, along with DJ Alfonso Starr and the #PurpleMusicology party lands in the nation’s capital. The Unit band features Stacy Lamont Sydnor on drums, (Lalah Hathaway, The Jacksons, P Diddy) and Kyle Bolden on guitar (Stevie Wonder, The Jacksons). Other all-star musicians will bring the purple funk and sexy ballads at the highest level of skill and musical ability. 9 p.m. - 12 a.m. $35. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

SOUL FOOD SATURDAYS

A walking, culinary tour of Old Town Alexandria, with a specific focus on African American influence on the foods we cherish in American cuisine. The walking tour concludes with a thematic meal, served outdoors. 1-3 p.m. $95+. Carlyle House Historic Park: 121 N Fairfax St. Alexandria, VA; historicamerica. org // @historicamerica

11.21 PAULA POUNDSTONE

Appearing on stage with a stool, a microphone and a can of Diet Pepsi, Paula Poundstone is famous for her razor-sharp wit and spontaneity. She returns this year with her smart humor and spontaneous wit for an evening of legendary comic material.

Her ability to interact with her audience members has been hailed for years, something most comedians fail to do — but there’s no slowing Poundstone down as she continues to rip riotous laughter for all who witness her talent. Make sure you don’t miss this iconic comedian when she comes to town. 7:30 p.m. $55. The Birchmere Music Hall: 3701 Mount Vernon Ave. Alexandria, VA; birchmere.com; @thebirchmere // paulapoundstone. com; @paulapoundstone

OUTDOOR YOGA WITH HIKYOGA DC

Join Hikyoga DC for an hour-long yoga flow in the fresh air for all levels. Each class is a unique sequence. After class, feel free to continue your outdoor day by walking around the park.

Bring a yoga mat and water. Sunscreen, bug-spray and hat or sunglasses are recommended. 9-10 a.m. $16-$29. The Yards Park: 355 Water St. SE, DC; hikyoga.com // @hikyoga

11.22 HOW TO SAY WHAT YOU MEAN WITH WILL JELBERT

Learn more effective interpersonal communication with Will Jelbert, whose new book “Word Wise: Say What You Mean, Deepen Your Connections, and Get To the Point” explores

themes of filler words, veiled statements and how poor communication can disconnect us. 6:30 p.m. $12. Planet Word: 925 13th St. NW, DC; planetwordmuseum.org // @planetworddc

A MAGICAL CIRQUE CHRISTMAS

Get in the Christmas spirit with a performance of “A Magical Cirque Christmas” at Capital One Hall. Hostess Lucy Darling will take spectators through a wide array of dazzling performances, accompanied by live performances of holiday classics. 7 p.m. $60+. Capital One Hall: 7750 Capital One Tower Rd. Tysons, VA; capitolonehall.com // @capitolonehall

11.26 ​​RECORD STORE BLACK FRIDAY AT BYRDLAND

Get a ticket to check out Record Store Day at Byrdland Records in celebration of a consumer’s favorite holiday: Black Friday.

Byrdland Records will be selling records specially released on Black Friday, along others in their catalogue. 8 a.m. $10. Byrdland Records: 1264 5th St. NE, DC; byrdlandrecords.com // @byrdlandrecords

TAKE ME OUT: 2000’S INDIE DANCE NIGHT

Take Me Out, the east coast’s best indie 2000s dance party, returns to the Black Cat in D.C. Dance to music from iconic 2000s bands like LCD Soundsystem, The Strokes, The Killers, MGMT, Bloc Party, Interpol, Franz Ferdinand, Gorillaz, Passion Pit, Yeah Yeah Yeahs, Walk The Moon, Grouplove, Hot Chip, Justice and more. 9 p.m. $10-$15. Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc

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RADAR | CALENDAR

11.26-12.31 CHRISTMAS AT GAYLORD NATIONAL

What better way to celebrate Christmas than with family at the Gaylord National? This year, the Gaylord National is unveiling an immersive guided experience, “I Love Christmas Movies,” which takes guests through interactive scenes of classic Christmas films. There will be ice skating, cookie decorating, ice bumper cars, and more. Various times and dates. Various prices. Gaylord National: 201 Waterfront St. National Harbor, MD; christmasatgaylordnational.marriott.com // @gaylordnational

11.27 THE 17TH ANNUAL ALL BLACK AFFAIR

The 17th annual All Black Affair is coming to the historic Omni Shoreham hotel. Enjoy DJ sets by the likes of DJ Skipp and DJ Rob Love, as well as live music from local hitmakers DCVYBE and Black Alley. 8 p.m. - 2:30 a.m. Tickets start at $50. The Luxurious Omni Shoreham Hotel: 2500 Calvert St. NW, DC; nextlevelentgroup.com // @nextlevelentgroup

BARRE & BREW

Pure Barre Rockville and True Respite Brewing Company are teaming up to bring you a special pop-up barre class at the brewery. Join us for a 50-minute Pure Barre Classic class, then stick around and reward yourself with one of True Respite’s

beers. Your ticket includes both the class and one full pour of beer afterwards. Bring your own yoga mat. Space is limited, so be sure to grab your ticket before the event sells out. 11 a.m. - 12 p.m. $20. True Respite Brewing Company: 7301 Calhoun Pl. #600, Derwood, MD; truerespite.com // @truerespite + @purebarrerockville

RIGHT ROUND: ‘80S ALT-POP DANCE NIGHT W/ DJ LIL’E

A night of dancing at the Black Cat. 80’s alt-pop music curated

by DJ lil’e, who’s been hosting this dance party now for almost 2 decades. Enjoy a night of new wave and ‘80s alternative hits.

8 p.m. $10-$15. The Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc

11.27-11.28 THE NUTCRACKER AT THE WASHINGTON BALLET

Experience the magic of The Washington Ballet’s charminglyD.C. The Nutcracker. This celebrated production is set in historic 1882 Georgetown with George Washington, King George III and other historical figures. Set to Tchaikovsky’s magical score, this celebrated classic comes to life with intricate, stunning set designs, original period costumes and over 100 dancers including students and trainees from The Washington School of Ballet. It has become the signature Nutcracker of the nation’s capital. Various times. $49+. Warner Theatre: 513 13th St. NW, DC; washingtonballet.org // @thewashingtonballet

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EAT Mary Blackford Works to Eliminate “Food Apartheid” with Market 7 Food Hall WORDS BY TRENT JOHNSON

Local entrepreneur Mary Blackford didn’t realize she was growing up in a “food apartheid” during her childhood in D.C.’s Ward 7. The lack of big-box grocery stores and healthy food options didn’t become apparent until she was a college student in Boston, studying business at Babson College. Lost in the aisles among food options and colorful products galore, she was overcome with a realization: This assortment of goods was simply alien to her and her upbringing.

“I remember going to a few grocery stores and my friends would just grab things and put things in their basket,” she says, recalling the carefree attitude of her fellow patrons.

“I thought that was weird. They weren’t checking the expiration date, they weren’t reaching around in the back for the freshest option. These are things we did in Ward 7.”

The gap in food disparity between her hometown ward and the area around Babson College in Massachusetts didn’t shrink while she was away, either. Upon returning home as a vegetarian, Blackford found it even more difficult to find goods.

“A lot of food around here is fast food, burgers, fries, fried chicken — and this doesn’t exist in most places,” Blackford says. “There are walkable options [in other wards]. If you go to certain wards, they have 10 grocery stores and you can get salads and smoothies. We do not have that east of the river and it shows in the health disparities in our communities.”

Blackford’s concerns aren’t unique. According to a December 2020 report released by D.C. Hunger Solutions, Wards 7 and 8 had worse health outcomes than other wards in the District, including diet-related diseases and self-reported health issues. The report also highlighted that while some of the city’s more affluent neighborhoods experienced a boom in grocery and dining options from 2010 to 2020, that same time period saw Ward 7’s grocery store count go from four to two.

Because of this and her burgeoning entrepreneurial spirit, Blackford opted against sitting on the sidelines in hopes for a heroic grocery store or unforeseen initiatives.

Instead, she founded Market 7 Food Hall, which started as a series of pop-ups in 2017 that featured local vendors and healthy options for the community in Ward 7. After several years of success with the monthly event, Blackford is now in the process of opening a permanent space for Market 7, a 7,000-square-foot food hall with eight stalls intended to feature cuisine inspired by the African diaspora.

“Yeah, I guess I’m a pretty ambitious person,” she says with a chuckle. “I was here and every weekend I’d have to venture into the city to find food, and I got tired of it. I remember sending a text message to a friend who helped me map out the idea. It was always the goal to have a permanent space. We wanted a space in the community.”

In planning the pop-ups and food hall, Blackford drew heavily from her experiences from a college teaching program in Ghana. In those communities, she says people were heavily involved in creating market spaces together with different local businesses and creators collaborating in order to strengthen and enrich the community. In trying to unite her own neighborhood residents, Blackford says she has received nothing short of full support.

“My community, family and mentors have been very supportive in making sure this company and project goes all the way,” Blackford says.

During the planning stages, Blackford enlisted the help of community members who got together with Legos and physically constructed miniature versions of what they envisioned in a food market.

“We broke our community into groups. Some people wanted a place to hang out, some families wanted a place to be on Sundays, etc. They’ve been very supportive. Even when we got the space, it was a dilapidated building but businesses and friends came out and helped.”

Market 7 has received outside interest too, including grants with the city and one from Essence magazine for $150,000. Blackford isn’t surprised by the breadth of support because she says people are finally starting to realize the importance of food in preventive health.

“I think people are emphasizing a lot of efforts around community health and health equity,” she says. “We started to examine the social determinants of health and found there’s more of a move in communities of color to eat better. People are really trying but you eat what’s around you.”

Though Market 7 likely won’t open until late 2021 or early 2022 (the date is still TBA), Blackford has lofty expectations for her project.

“Market 7 is a cultural anchor in our community,” she says. “We have eight spaces, provided by eight Black-owned businesses. We’ll also have a grocery space, a cafe space and a bar space. We’re bringing back things we lost [during Covid], and I think the programming of the space will involve the community learning to live more sustainable lives. We have a lot of partners and we’ll continue to work with them. The community is waiting for this. People are eager to come in.”

Though giving people a place to congregate and explore are important components to the Market’s future, the end goal of education and narrowing the gap on food disparity remains both the ultimate short- and long-term goal. Rather than the common “food desert” term thrown around by studies and research papers, she prefers the aforementioned “food apartheid,” to describe the systemic inequalities of these locations. An inequality she’s eager to help change.

“I’m very centered in service,” she says. “I love helping my community. This is my home; this is where I grew up.

Food desert sounds like a natural occurrence, but people are getting away from that [phrase] because it’s not natural.

These are things that were a result of discriminatory practices. We’re shut out of the opportunity to have these retail places that would help the community. We have to speak on that.”

And while speaking on the issue is helpful, creating these avenues for your community with your own means is even more powerful. Blackford has already signaled that she’s about more than talking: She’s about action.

“I want to give students something to look up to,” she says. “I want to teach them a healthy way to live. I want to give them service. I’m praying that everyone enjoys what we’re going to bring.”

For more information about Market 7 Food Hall, visit market7dc.com. To follow along with progress via social media, reach out on Instagram and Twitter @market7dc.

DISTRICT FRAY | 19

DRINK The

CULTURE

of

ABSINTHE Misinformation, the Green Fairy & Murders Most Foul

Find out the truth about absinthe, one of the most obscure and misunderstood spirits in the world.

WORDS BY AMANDA WEISBROD

DRINK Let’s get some things straight: Properly made absinthe does not and has never contained any hallucinogenic properties.

Absinthe is not illegal — it’s actually been legally available in the United States since 2007 — and it is not poisonous.

Brian Robinson, an absinthe expert and spirits archaeologist at the Columbia Room, says the myth about absinthe’s hallucinogenic properties attracts two camps of people: recreational drug users who are chasing the next high, and people who are scared away from absinthe because of the same myths.

“It puts absinthe at a disadvantage from the very beginning because you’ve got some people who are destined to be disappointed, and others who are afraid to even try it,” Robinson says.

Nick Farrell, spirits director at the Neighborhood Restaurant Group in D.C., agrees.

“Absinthe contains small traces of thujone [a mild hallucinogenic], but the public perception is if you drink a little absinthe, you’re going to see things,” he says.

The thujone found in absinthe comes from wormwood, an herb traditionally used in tonics. Absinthe also contains fennel and anise, which gives the spirit an herbal flavor akin to black licorice.

In reality, the rumors that absinthe causes sickness and hallucinations come from its extremely high alcohol content: The spirit’s proof ranges anywhere from 110 to 144 (for comparison, the average whiskey is about 80 proof).

When prepared properly by diluting the spirit with ice water, a glass of absinthe has a similar strength to a glass of wine.

Dubbed the “Green Fairy” by artists and charlatans of early 19th century Europe who claimed it as their muse, absinthe was cherished as an aperitif spirit by the poor and rich alike. As it gained popularity, wine and beer lobbyists initiated an antiabsinthe crusade to snuff it out.

“ABSINTHE, LIKE ANY FINER THINGS IN LIFE, IS AN ACQUIRED TASTE.” Robinson, who is also a review editor at the Wormwood Society, an association dedicated to dispelling myths and educating folks about absinthe, says the main misinformation campaign rose out of France and Switzerland in the mid-1800s after an insect plague destroyed most of their vineyards. Wine was suddenly difficult to come by and became extremely expensive, so the masses sought an alternative.

Enter: absinthe.

Because anise and wormwood flavors were already popular at the time — paired with the fact that a glass of absinthe is about as strong as a glass of wine — Robinson says it was easy for people to replace wine with absinthe in their daily routine.

“When the French wine industry recovered, they didn’t have as many customers because absinthe was very popular and widely available,” Robinson says. “The wine industry partnered with brewing prohibitionists to vilify absinthe and Photo by Brian Robinson.

get customers to come back to wine.”

Spurred by anti-absinthe propaganda, a terror the “absinthe demon” would destroy the world spread throughout Europe and across the Atlantic to America.

The nail in absinthe’s coffin was a high profile homicide case dubbed the Absinthe Murders.

In 1905, a working class man from a small community in Switzerland woke and started his day with two glasses of absinthe, followed by a crème de menthe and cognac for breakfast.

Jean Lanfray then enjoyed seven glasses of wine and a cup of coffee spiked with brandy at lunchtime. He later consumed an entire liter of wine and polished his meal off with a strong form of brandy called marc.

Drunk all day, Lanfray neglected to milk the cows — and when his pregnant wife reminded him, an argument ensued. He reached for his rifle and shot her in the head, then killed his four and twoyear-old daughters before attempting to take his own life.

Despite the copious amounts of wine and brandy he consumed, Lanfray’s defense lawyers blamed his actions on “absinthe madness” even though he only had a few ounces the morning of the murders. In a one-day trial, Lanfray was sentenced to 30 years in prison. After three days behind bars, he hanged himself in his cell.

Absinthe was officially banned in Switzerland in 1908, and most of Europe and the U.S. swiftly followed suit. The Green Fairy remained outlawed for nearly a century until alcohol restrictions began loosening in the 1990s. In 2007, absinthe became legally available in the U.S. Today, absinthe is less common than other spirits, but can still be found if you know where to look. Many bars include absinthe in cocktails, and larger liquor stores often carry it on their shelves.

Doug Fisher, beverage director at Morris American Bar, says he counted 119 cocktails on his list containing absinthe — whether a rinse, a dash or an ounce. When advising patrons interested in trying it for the first time, Fisher often compares absinthe and other potent, bitter spirits to odd people.

“When you first meet them, they’re strange and you don’t really know what to expect,” Fisher says. “But after you spend some time with them, you realize, ‘Oh, this is why people have liked you for a couple hundred years. You’re interesting and you’re different.’

Absinthe, like any finer things in life, is an acquired taste.”

Traditionally, absinthe is served by dripping iced cold water over a sugar cube into a special absinthe glass. At the Sovereign, a Belgian-style restaurant and bar in Georgetown, Farrell says absinthe fountains are available upon request — and once one goes out, two or three more are certain to follow.

Absinthe is one of those niche spirits, which may remain a mystery to most and coveted by few for years to come. By telling its compelling backstory — and dispelling some of its myths perhaps more people will find their own muse in the Green Fairy.

Columbia Room: 124 Blagden Alley NW, DC; columbiaroomdc.com // @columbiaroom Morris American Bar: 1020 7th St. NW, DC; morrisbardc.com // @morrisamericanbar Neighborhood Restaurant Group: neighborhoodrestaurantgroup.com // @nrgprovisions The Sovereign: 1206 Wisconsin Ave. NW, DC; thesovereigndc.com // @thesovereigndc DISTRICT FRAY | 21

DRINK

T H E

What Does It Taste Like?

Absinthe has a flavor similar to black licorice because of its three main ingredients: G R A N D W O R M W O O D

R I T U A L ILLUSTRATION BY AMANDA WEISBROD | PHOTO BY STEEL BROOKS Otherwise known as the “Green Fairy,” absinthe is one of the most obscure and misunderstood spirits in the world — and its preparation only adds to its intrigue. Involving a fountain, ornate slotted spoons and chalices specifically designed to hold the aperitif spirit, fixing a glass of absinthe has been described by enthusiasts as somewhat of a ritual.

A Step-By-Step Preparation Guide

1 Pour your favorite absinthe into a special absinthe glass up to the top of its reservoir.

2 Rest an absinthe spoon across the rim of the glass and set a sugar cube or two on top of it.

A N I S E E D F E N N E L

The Green Ratio Traditionally, absinthe should be prepared in a 1-to-5 ratio with cold water, which gives the drink a strength similar to a glass of wine. This ratio should be adjusted depending on the proof of the absinthe and to individual taste.

1oz.

5oz.

Unique and beautifully designed, absinthe spoons feature intricate slots that allow water and sugar to drip into the glass below.

3 Place the glass beneath a fountain spout and slightly turn the valve to get a slow drip going.

Make sure the water drips over the sugar cube so it dissolves properly.

4 Once your glass is full, stir with the pointed absinthe spoon to help dissolve the rest of the sugar. Enjoy!

22 | NOVEMBER 2021

As water mixes with absinthe, it combines with the spirit’s essential oils to create an opalescent, cloudy effect known as a louche.

True or False?

Because of its harrowing history, there are many misconceptions about absinthe. Take the quiz below to see how many myths you can catch. Answers in bottom right corner.

1

T/F

Absinthe is not a drug or poison and it never was.

2

T/F

Authentic absinthe is legal in the U.S.

3

T/F

If you drink absinthe, you will hallucinate and see a green fairy.

4

T/F

Serving the spirit with flaming sugar cubes is an authentic absinthe tradition.

Absinthe fountains can come with two, four or even six spouts for an entire party to enjoy the drink together.

True or false answers: T, T, F, F Sources: The Wormwood Society, wormwoodsociety.org; WikiMedia Commons, commons.wikimedia.org

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MUSIC IS

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02045 24121

James Blake at The Anthem on October 12. Photo by Jordan Grobe.

BACK

Live music in the District is back in all its eclectic, iconic glory — from the drum kit-powered bounce beat sounds of go-go to the raw energy of post-punk-infused rock, and everything in-between. The music scene reawakening in D.C. is a far cry from the one that went dormant at the height of quarantine. In our Local Music Issue, we’re highlighting the reopening and reimagining of D.C. area venues, dispatching our local artist watchlist and giving you a front row seat to go-go music’s selfassertive pursuit to protect its mantle as the region’s preeminent music genre. Plus, we’re hyping some new releases from local musicians and crafting a vivid love letter to everything we missed through a visual feast of dope art and photography.

25. I.M.P.’s Return 29. Punk’s Not Dead 34. 26 DMV Artists on Our Watchlist 40. A Roundup of Local Venues 46. Alive + Kicking Illustration 48. Fresh Album + Song Releases 58. Photo Essay: A Visual Ode to D.C. 64. Tracing Go-Go’s Evolution Produced by Monica Alford, Julia Goldberg, Jamie McCrary, Nicole Schaller + Andrew J. Williams III

24 | NOVEMBER 2021

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Several of D.C.’s most iconic venues fall under the I.M.P. umbrella. We caught up with some of the heavy hitters who’ve worked behind the scenes to give 9:30 Club, The Anthem, Lincoln Theatre and Merriweather Post Pavilion an epic comeback this year.

WORDS BY COLLEEN KENNEDY | PHOTOS BY JORDAN GROBE

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LIVE MUSIC IS BACK FIRST PAGE FROM TOP. Foo Fighters at 9:30 Club. St. Vincent at All Things Go at Merriweather Post Pavilion.

Let’s think back to the “before times” for a minute. What was the last concert you saw pre-pandemic? What did you already have tickets for that you never got to see?

During that last comparatively normal weekend in March 2020, my mother came to visit.

She spent her days going to museums while I was in the office, and on March 7, I took her to a concert at Lincoln Theatre.

Bonnie “Prince” Billy — he of the soaring, melancholic voice with songs as haunted as Appalachian ghost stories — opened for the avuncular, optimistic and earnest Jonathan Richman, who sang his uplifting folk songs in several languages and quoted the Persian mystic-poet Rumi.

Together, the two very different artists brought something eclectic and magical to the air.

Even more than the beautiful performance, however, I think back on all those intimacies with strangers. I remember so many smiles and laughs unhidden by masks, the crush of people at the bar when I bought two glasses of red wine, the hugging and kissing of friends and lovers greeting each other as they filtered back to their seats, a woman handing a mint to a stranger who promptly put it in her mouth before reapplying lipstick at the bathroom mirror.

Just days later on March 11, with Mayor Bowser’s mandate declaring a state of emergency banning large gatherings, I.M.P. announced upcoming March shows would be postponed.

Seminal punk band The Dead Kennedys played to a sold-out crowd at 9:30 Club that same evening for those clamoring for one last rock fix. Within days the music stopped as all performing arts and live music venues closed.

“When we shut the doors we didn’t think it was going to be as long, maybe a few weeks or maybe a month,” shares 9:30 Club Assistant General Manager Karim Karefa.

In 19 years of working at 9:30 Club in many capacities — starting with security, a stint

26 | NOVEMBER 2021

barbacking, becoming manager on duty, and as a recording artist opening for Lupe Fiasco in 2008 and Common in 2010 — Karefa has seen a lot onstage and backstage. But nothing could prepare him for this. Filled with anxiety and doubt about a possible extended closure, his mind was full of questions.

“We asked: ‘What is the company going to do if they don’t have any income coming in? If they don’t have any ticket sales coming in, what are they going to do for the employees?’”

I.M.P. Goes DIY in Furloughed Staff Relief Over 95% of the staff at I.M.P. venues — 9:30 Club, The Anthem, Merriweather Post Pavilion and Lincoln Theatre — were furloughed during the first few weeks. Looking back at the venues’ Facebook pages during March 2020, the messaging remained optimistic. Venues stated shows originally booked for March, April and May 2020 would only be postponed and rescheduled, rather than canceled altogether.

Taking the cue from DIY punk efforts, chairman of I.M.P. and owner of 9:30 Club Seth Hurwitz immediately started working on relief efforts. He created the I.M.P. Family Fund to aid employees, an in-house grant program for those struggling to make ends meet. Hurwitz kickstarted the relief effort by promising to match donations, ultimately giving over $100,000 of his own money.

The District’s music lovers quickly and generously responded, donating directly to I.M.P.’s Family Fund, buying I.M.P. gift cards for the music venues and purchasing special 9:30 Club merch. Concertgoers forwent the cost of their cancelled tickets to donate to the cause. The fund swelled to over $300,000.

“Their support shows a couple of things,” states Audrey Fix Schaefer, communications

director for I.M.P. “First, that the community really cares about our employees and wants to make a difference. It also shows they had faith in us that we would hold on until it was safe to come back.”

As the pandemic raged on and local laws kept most venues from opening in any capacity, I.M.P. leaders had to move from short-term relief efforts to longterm survival planning.

The concert venues became food pantries for furloughed staff, giving away over 25,000 pounds of fresh and nonperishable food. Employees who were previously enrolled retained 100% of their health insurance while furloughed.

I.M.P. lobbied for additional unemployment insurance and applied for all local and federal grants available to aid furloughed staff.

Yet, all of these relief efforts were temporary solutions to larger ongoing issues concerning if and when concert venues could reopen and employ staff again.

“Darling, Can’t You Hear Me? S.O.S.” Fix Schaefer retained her position at I.M.P. working on crisis communications, but also quickly became the vice president of the board of directors and communications director for National Independent Venue Association (NIVA), lobbying for Congressional support of closed venues and their staff through the Save Our Stages (S.O.S.) campaign.

She worked tirelessly to coordinate and communicate nationwide to everyone from fans who wrote to their local representatives and signed online petitions, to a bipartisan coalition supporting a relief package. S.O.S. was covered in Rolling Stone, NME, NPR and many more national outlets with artists such as Paul McCartney, Dave Grohl, Joni Mitchell, Lady

Gaga and hundreds more speaking on behalf of the bill put forth by Senators John Cornyn (R-TX) and Amy Klobuchar (D-MN).

Jordan Grobe, I.M.P. communications coordinator and club photographer, was one of the many staff members furloughed. In 2019, he had worked over 175 shows but now he had time on his hands, and he knew he could help Fix Schaefer tell the story of America’s struggling independent music venues and their unemployed staff.

“The fact that we didn’t have to separate our work and friendship because he was right there with me meant the world to me,” Fix Schaefer shares. “It meant everything.”

Grobe adds, “All of us working for NIVA were fighting to save this thing that we love so much. If we didn’t do this, there wouldn’t be that bright light at the end of the tunnel.”

In December 2020, the Save Our Stages bill was passed into law to the tune of $16 billion dollars, but the process of distributing funds was delayed until June 2021.

Senators Cornyn and Klobuchar introduced the SOS Extension Act in September 2021, asking to extend the timeline for using Small Business Administration Shuttered Venue Operators Grants to spring 2023.

“The fact that we made it through is a testament to successful collaborative work,” Grobe says. “Everybody involved was either doing so in a completely volunteer capacity or on top of trying to keep their own private businesses afloat. Everyone was juggling these duties in addition to all of the emotional stresses of going through the pandemic but [we] had this community of people to get through this together.”

Meanwhile, Back in Da Club Other staff continued with administrative duties at 9:30 Club, preparing to reopen the stages.

“We kept a team of people who worked together to help us forge ahead,” Karefa says. “We made sure certain things were kept up

to date so when we did open, we would be ready because it would be a big undertaking.”

“We were always on deck, prepared to get a call anytime,” states Cherise Rhyns, general manager of the Lincoln Theatre.

“One thing positive for us at the Lincoln was we were the onsite location for some live streams and some recorded projects. Because of the livestreams, we didn’t get rusty.”

Starting last spring, the pace of the recorded and live streams picked up, which kept the smaller team at Lincoln Theatre busy. Monthly events included performances by Sweet Honey in the Rock, the National Cherry Blossom Festival’s opening ceremony, and even President Barack Obama taking the stage in November 2020.

“President Obama sat down with the young men of the My Brother’s Keeper organization talking about being a Black man in America, and Jonathan Capehart [of MSNBC] facilitated an excellent discussion,” Rhyns says. “I was surprised when it came together so beautifully and so quickly. It was one of the most amazing experiences of my life — but there was no audience. It was just essential staff [and] a tiny crew, but we were able to pull it off.”

During the worst of the pandemic, venues reopened on occasion — just not for concerts in front of live audiences. The Anthem became a pop-up vaccination site in April 2021, complete with a marquee declaring “We’ll Get Thru This.” 9:30 Club became a refueling point during the Black Lives Matter protests of August 2020, where protesters could use a clean bathroom, grab a bottle of water or cool down before marching again. But the following month, the beloved club celebrated its 40th anniversary without audiences and fanfare.

Without live music, Karefa says life “was like this void you could feel, so thick you could cut it, this feeling of really missing going out, listening to music, being with friends.”

Unmute, Unpause + Play Loud By midsummer 2021, there was some hope for music. Many in D.C. were fully or partially vaccinated and the warmer weather meant that outdoor venues, such as Merriweather Post Pavilion could unmute, unpause and play loud. And they did, with a full July 4th weekend of hair metal bands for the M3 Rock Festival.

The other I.M.P. venues soon followed suit. The Anthem reopened at the end of the month with the comedic stylings of one of D.C.’s favorite sons Dave Chapelle. British rockers The Struts reopened the Lincoln Theatre on September 7 and 9:30 Club celebrated with a week of events, starting with the District’s favorite ‘90s cover party band White Ford Bronco on September 3. LGBTQ+ dance party Bent: Out of Shape quickly followed, along with ambassadors of D.C. go-go Big Tony and Trouble Funk, and the triumphant return of the Foo Fighters in a surprise show at 9:30 Club.

“I always knew we were going to come back,” Steve Lemz, a DJ for the ongoing Bent dance party says. “It was going to be scary but super important — just letting go of all the bullshit. The first Bent back was electric, just to be back in that room and see all these familiar faces. I opened with Kylie Minogue’s ‘Say Something,’ and I edited a remix to repeat the lines, ‘Cause love is love, it never ends.

Can we all be as one again?’ I had literal chills.”

Karefa shares, “I’m thankful for the resiliency of the staff [who] were able to stick around, and for the company for making it through because it wasn’t easy for anybody. Unfortunately, we lost quite a few smaller but significant gems, so I feel fortunate to be part of a company that made it through and who took care of their employees.”

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With the reopening of their venues came new policies asking patrons to be masked and, as of mid-October, fully vaxxed. And there have been other exciting surprises, too. While 9:30 Club celebrated its 40th birthday quietly in September 2020, for its 41st birthday, Dave Grohl announced to the audience at the Foo Fighters’ show the defunct Satellite Room next door would become a new club replicating the smaller, original 9:30 Club.

While Merriweather’s 2021 season has concluded, there are already a few acts lined up for summer 2022. 9:30 Club’s calendar is packed with shows pretty much every damn night announced through mid-May, with sold-out shows sprinkled throughout the roster. Even The Anthem has shows listed several nights a week into mid-April.

The Lincoln Theatre, the crown jewel of D.C.’s Black

Being A Good Patron

LIVE MUSIC IS BACK

Looking Ahead

28 | NOVEMBER 2021

Broadway, will be celebrating its 100th anniversary next year. At this time, the team is working on historic research and digging through the archives to learn more about the fabled theater where Duke Ellington, Pearl Bailey, Ella Fitzgerald, Billie Holliday, Nat King Cole, Cab Calloway, Louis Armstrong and Sarah Vaughn all played regularly. For Rhyns, who is celebrating her 13th year at the Lincoln Theatre and comes from a local family who has always created and enjoyed music, the Lincoln’s centennial has a deep personal resonance.

“There are so many emotions for me for many different reasons,” she says. “Considering that the Lincoln was purposely created to give Black people the opportunity to see performers they wouldn’t otherwise see because of segregation, the significance of this building and the history it symbolizes is not lost on me at all. I’m very

DJ Lemz shares that despite being fully vaccinated, he suffered a breakthrough case of the coronavirus in July that knocked him down for almost two weeks.

“It’s a scary thought and I don’t like going down that rabbit hole,” he says, thinking what his illness could’ve been if he weren’t fully vaccinated.

“As someone with a job in the queer nightlife scene where we’re all about protecting our own community, I’m so thrilled to be able to share my story.

I’ve gotten messages from friends who were getting too comfortable but are now taking a lot more precautions after seeing what I went through.”

He says it’s easy to be safe and keep everyone else safe, too.

“Respect the rules on masking and take it seriously, because coronavirus isn’t gone yet.”

During the José González and Rufus Wainwright show at

humbled and grateful to be here at this time in history.”

Karefa says he basically takes it day by day when reflecting on what’s next.

“Every day that we have music and people are willing to convene, have a good time and watch a band, I think we’ll be just fine.”

The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc Lincoln Theatre: 1215 U St. NW, DC; thelincolndc.com // @thelincolndc Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; merriweathermusic.com // @merriweathermusic 9:30 Club: 815 V St. NW, DC; 930.com // @930club

The Anthem, I observed staff walking between the seated rows, occasionally pointing to a patron whose mask had slipped under their nose or who was holding a beer but not actively sipping it. Expect more of those friendly reminders to keep your mask on during shows.

“Patrons say, ‘Thanks for reminding me,’ and it is something that everybody has to get used to,” Rhyns says.

“But for the most part, our patrons are very compliant.

It’s also important to note that many of our talent were actually requesting if a vaccination policy was something we would be willing to do.”

As of October 17, all patrons entering I.M.P. venues must be fully vaccinated and able to show proof, whether by bringing their vaccination card, having a photograph of their vaccination card or having a digital record using the Bindle app alongside a photo ID. They join many of the District’s

theaters and a growing number of bars and restaurants asking for proof of vaccination before entry.

“We always try to create a safe environment for our patrons where people can feel safe and say, ‘I’m in a room full of people who have taken these steps to help create this safe atmosphere,’” Karefa adds.

“That experience starts at the front door with our door staff.

Something I’ve always admired about concert halls is that a bunch of strangers get together and watch their favorite band, and they may not be aware of each other or [haven’t] seen each other before. But in that space, everyone is friends: brothers and sisters in music because of this band that’s onstage. They’re singing along and dancing together — arms and shoulders and rocking back and forth. It’s communal and spiritual. Let’s protect our brothers and sisters.”

NOT DEAD PUNK’S NOT DEAD PUNK’S NOT DEAD PUNK’S NOT DEAD PUN NK’S NOT DEAD PUNK’S AN INSIDE LOOK AT D.C.’S DIY SCENE

Colorful mohawks, piercings, combat boots, and most of all, fasttempo music riddled with political and antiestablishment lyrics all come to mind with the word “punk.” While this still holds true for some, it’s a narrow assumption for a scene that has evolved into a vast network of musical and fashion styles over the last 50 years.

WORDS BY AMANDA WEISBROD

DEFINING THE UNDEFINABLE It’s challenging to track all of the subgenres with punk roots — there’s alternative rock, indie, emo, heavy metal, pop punk and industrial rock, just to name a few. But even more difficult is grouping them together under one label — a nearly impossible task according to Black Cat’s Dante Ferrando, who has been supporting the independent music scene through his 14th Street venue since 1993.

“I think it’s too segmented to say ‘the punk scene,’” says Dante, who entered the world of punk rock with his first band in 1979. “There’s all sorts of little branches.

I don’t think everything that has a tendril of punk

rock can be considered part of the same scene.”

His wife Catherine Ferrando, also a co-owner of Black Cat, agrees and adds that giving the punk community a solid definition is somewhat of an oxymoron.

“I do think there’s something a little antithetical about trying to define it,” says Catherine, who joined D.C.’s punk scene when she moved to the city in 1992. “If somebody considers themselves punk, who am I to say they’re not?”

Mike Maguire, a D.C. photographer and regular punk show attendee, started frequenting concerts

Bacchae’s Katie McD + Andrew Breiner at Black Cat. Photo courtesy of band.

in the ’80s and ’90s when he lived in Northern Virginia. He returned to D.C. in 2006 and says compared to back then, DIY is a more accurate label for what could be considered today’s punk scene in D.C. “If someone didn’t know better and saw the word punk, they might think of ’70s and ’80s mohawks and only one type of music, but that’s not how it is in D.C.,” Maguire says. “It’s more about bands doing their own thing, but it all still came out of the big-name punk of the D.C. scene.”

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LIVE MUSIC IS BACK

A BRIEF HISTORY LESSON Music historians say punk reached the District in 1979 in the form of hardcore music, a subgenre of punk that’s especially fast-paced and aggressive. The scene that developed became one of the most influential in the punk/hardcore genre. In the early ’80s, legendary punk and hardcore bands hailing from D.C. began to take form, including big names such as Minor Threat, State Of Alert (SOA), Bad Brains and Scream.

Ian MacKaye, frontman of bands Minor Threat and Fugazi, as well as a co-founder of D.C. independent music label Dischord Records, says when he and his friends first formed Minor Threat, they weren’t really experiencing it as a phenomenon. They were simply kids looking for things to do.

The hardcore sector of D.C.’s music scene soon became an on-again, offagain fixture in the local music ecosystem following its running start in the ’80s.

The sonic influence of legacy bands like Minor Threat tended to overshadow the genre, according to an article published by The Record, NPR’s hub for music news.

But in 2015, a new era of punk elbowed its way out of the bounds of former expectations and tradition, marking an important moment in the history of D.C.’s punk scene. Several local hardcore bands broke nationally, and a groundbreaking punk compilation was released.

“The Red Line Comp” features a dozen local hardcore bands, many of whom simultaneously released their own albums.

The nickname “The New Wave of D.C. Hardcore” began to spread, a nod to the punk scene’s growing momentum.

30 | NOVEMBER 2021

BACCHAE IS BORN Local punk band Bacchae formed in 2016 at the onset of this new wave.

At the time, Katie McD (vocals and keys), Eileen O’Grady (drums) and Andrew Breiner (guitar) lived together and were searching for a bassist.

Then, Breiner met Rena Hagins at Hat Band DC, an annual event where musicians of all skill levels are randomly grouped and perform a set of one to three songs a few weeks

later. Hagins had just started playing bass and had never been in a band before — and Breiner’s welcoming spirit made her feel comfortable and accepted. She jumped at the opportunity to join Bacchae.

Hagins and Breiner say this open and accepting attitude can be found throughout D.C.’s punk and hardcore community.

Breiner adds while there isn’t any gatekeeping based

THE DIY PHILOSOPHY This idea of doing it for yourself and the music — not for the money — is a common theme. The Ferrandos, who are one-half of the newly formed D.C. punk band The Owners, say this philosophy is particularly strong in D.C. “The philosophy that music is the goal in itself and not a way to money or fame is definitely part of punk,” Catherine says. “You’re not going to just be a pawn of some record company. You’re going to do your own thing. You can do it how you want to do it.”

The Black Cat owners try their best to run the club this way — but they also must turn a profit.

Dante says the business side of punk has become a lot more cookie cutter over the years, so following your own path is more important now than ever.

“That’s always been a part of Black Cat: not putting profit at the absolute forefront,” Dante says. “We try to do things differently, and hopefully some people realize you can.”

The Owners. Photo courtesy of band.

on skill level or experience, it isn’t accurate to describe the scene as tight-knit.

“That can sound exclusive,” Hagins says. “It’s open, and people are patient and understanding that not everyone is a virtuoso.”

The two were surprised at the amount of support they received in Bacchae’s early days. They were in it for fun and didn’t expect to carve out a space for themselves in such a welcoming community.

END OF AN ERA Don Zientara, the former owner of D.C. punk scene staple Inner Ear Recording Studios, believes that punk can mean “a different thing to different people.” But at its core, punk is all about “being true to yourself and being real.”

“The whole idea [of punk] is to just be real.”

This mantra was at the heart of Inner Ear’s philosophy for 31 years until it permanently closed its doors in October 2021. Dubbed “the Abbey Road of D.C.’s punk scene” by the Washington Post, Arlington County bought Inner Ear in April along with the lot adjacent to the studio. County officials have hinted at parks, new public art, and expanded opportunities for arts and cultural programming.

In a Washington Post article, Zientara says the one-story

building that housed the studio was no great loss in itself — but he will miss the area. He says closing Inner Ear helps make way for the newer punk generation.

“Let somebody else do some good recording,” he says. “Why should I stand in the way? I’m an old fart.”

MacKaye says he spent thousands of hours in sessions with Zientara — time that is almost impossible to replicate without the studio.

“I may never find [the same thing], but it reminds me such times exist and they’re out there to be found.”

Zientara says while he hates to use the word “document,” he thinks of his role in the punk scene as an arbiter to help artists translate the music they had in their heads onto tape so their message could be heard.

FOR THE MESSAGE, NOT FOR THE PROFIT Recording punk music for the purpose of documentation is a sentiment MacKaye holds along with Zientara. This philosophy was in the forefront of MacKaye’s mind when he formed Dischord Records back in 1982. He and his friends just wanted to record a tape so they could hold onto their memories.

He says it was almost like a yearbook, in a way. They had no intention of selling it.

MacKaye says punk isn’t about the profit or the commodification of music.

It’s about the message, going against the grain and being a free place “where new ideas can be presented and profit isn’t part of the equation.” In his opinion, live shows offer space for the spontaneous combustion of ideas and are at the center of punk culture.

“Sometimes [when] you’re in a room with a bunch of people, shit just pops off in a way that’s unexpected — and it’s profound,” MacKaye says.

“That’s the thing I always loved.

There were moments of almost unexpected celebration where you think, ‘Oh my god, this is such a great moment to be alive.’”

Hagins feels similarly. To her, punk is all about the music — the energy felt at live shows and the visceral sense of collaboration between bands and their audiences is second to none.

“Live performance is the most important thing about punk,” the bassist says. “It’s the most collaborative music scene I’ve experienced because everyone is part of the performance.”

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LIVE MUSIC IS BACK

PANDEMIC BLUES When the pandemic hit the U.S. and national shutdowns closed the doors of D.C.’s venues, Hagins says most of the scene was put on hold.

Bacchae played their last show at Songbyrd Music House only a few days before the shutdowns in March 2020 — according to Hagins, it was a packed house, and in retrospect, probably not a great idea with coronavirus going around.

The band planned to set off on a nationwide tour last year to showcase their latest release, “Pleasure Vision,” but like so many other music artists, they had to cancel. And once shutdowns dragged on for months and months, Breiner says it was hard to feel like they were progressing as a band because playing their instruments together and performing at live shows “was out of the question.”

Feeling aimless and not jiving with practicing via Zoom, Bacchae didn’t really play together as a band for about a year, save for passing some cover song recordings back and forth.

“I think there was a shift to online performances and livestreams, which I personally wasn’t able to fully jump headfirst into because I really like being in a physical space,” Hagins says.

“Behind a computer screen, it wasn’t translating well — especially for punk and hardcore.”

Maguire, who enjoys photographing bands in the DIY scene, says many of his friends didn’t play their instruments as often anymore because their motivator for doing so — performing live — vanished.

“I know a lot of musicians who didn’t even touch their instrument during the pandemic,” he says. “It

THE FUTURE OF PUNK was really tough. If they didn’t have anyone in the room to play with, they just didn’t do it.

Even the transition back to shows has been pretty slow for a lot of people.”

D.C. venues like Black Cat and Songbyrd have been cautiously getting back into the swing of things since the summer, but Hagins says house shows are still practically nonexistent.

“I’m wondering how [house shows are] going to shift and expand once people feel more comfortable going into someone’s house,” she says. “There are smaller venues with that feel, but nothing replaces the house.”

The loss of intimacy that goes along with playing music in someone else’s living room with 100 people dancing along — and the departure of Inner Ear — have been huge hits to the punk scene, but there’s still hope for the future.

Moving forward, Dante is excited to see local bands emerge on the scene and more people going out to shows. Catherine hopes the younger generation will keep punk alive, adding she worries fewer kids are teaching themselves how to play instruments and forming bands because there are so many other avenues of creativity out there now.

Maguire can’t wait for the return of house shows and wants to see more fans join the scene. Hagins and Breiner are ready to get back onstage to feel that connection with the crowd only live performances can provide.

And MacKaye envisions somewhat of a hardcore renaissance taking place once inperson restrictions fade away. He compares the pandemic to a blizzard — when the storm hits, everything stops and it serves as a time to pause and reflect. But when it all melts away, everything comes back to life.

“When the coast is clear, I suspect there will be a burst of energy,” MacKaye says. “[Punk] will take root because it can’t be stopped.”

Today’s punk/hardcore community definitely looks a lot different from the movement’s origins in the early ’80s, but its core philosophies remain: Be true to yourself, experiment with new ideas and do it for fun, not for fame and money. You could call it punk or hardcore, or even DIY, but no matter how you label it, D.C.’s counterculture isn’t going down without a fight.

“Punk is definitely here to stay,” Hagins says. “D.C. has such a strong history of punk. People look to the past to inform the present.”

Follow Bacchae on Twitter and Instagram @Bacchaeband. Find them on Facebook at fb.com/bacchaeband and visit bacchae. bandcamp.com to stream their latest release “Pleasure Vision.”

Follow Black Cat on Twitter @BlackCatDC and visit blackcatdc.com for more information.

Follow Dischord Records on Twitter @dischordrecords and on Facebook at fb.com/dischordrecords. Visit dischord.com for more information.

View Maguire’s portfolio on his website mmaguirephoto.com. Follow him on Twitter @MikeSpeaks and Instagram @mike.j.maguire.

For more info on D.C.’s punk scene, check out @dcpunkarchive and @punkhousedc on Instagram.

32 | NOVEMBER 2021

Minor Threat. Photo by Susie Josephson Horgan.

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24 STALWARTS

OF THE DMV MUSIC SCENE

TO FOLLOW WORDS BY ANDREW J. WILLIAMS III

The evolution of the DMV’s music scene over the last two decades is something to behold. The scene is no longer dominated by punk kids or go-go, though stalwarts from both are holding court. Soul, hip-hop, classical and crossover musicians are on the rise, ushering in the future and putting D.C. on the map. Read on for five behind-the-scenes spotlights of our top local picks, and 18 DMV musicians you’ve got to know. And to listen to the highlighted artists, add our curated playlist to your Spotify library here: spoti.fi/3mmq2PA.

A SIDE: IN THE SPOTLIGHT Bad Moves

1

David Combs takes my call from outdoors in Randomtown, Ohio, enduring a combination of poor Wi-Fi connectivity, the screaming whistle of a passing freight train and interruption by random strangers. It’s the life of a musician. Combs’ personality is warm and funky — and oddly familiar.

As one of four members (David Combs, Katie Park, Daoud Tyler-Ameen and Emma Cleveland) of the D.C.-based power pop band Bad Moves, it’s what you’d expect from an individual who often spends his nights rocking and serenading crowds of bobbing heads, many of whom are loyalists to the punk cause.

Combs is a mixture of edginess, steadiness and 34 | NOVEMBER 2021

organized chaos. I imagine it’s the same energy he and his bandmates bring to the stage.

“We try to write pretty catchy melodies and somewhat dour lyrics,” Combs says.

“It’s high energy music about depressing things.”

Combs’ dream of being in a band took hold in high school and he’s followed it for

over 20 years. To this day, he still plays in the band he started with his high school buddies, although the frequency of their rendezvous is limited by the pandemic.

Combs and Bad Moves continue the proud lineage of local punk bands, with decades of staying power. They’re descendants of bands like Fugazi, whose punk ethos and association with Dischord

Bad Moves (L to R) Daoud Tyler-Ameen, David Combs, Emma Cleveland + Katie Park. Photo by Evelyn Hockstein.

MUSIC Records were (and remain) baked into D.C.’s musical and historical DNA. Though, of course, they are eccentrics, characters and originals, who conjure their own unique sound.

“We draw on a mixture of plastic power pop, guitar-driven pop music and also contemporary indie,” Combs says. “And we’re also drawing from post-punk influences.”

Combs is quick to point out Bad Moves subscribes to an egalitarian approach: Each band member is a front person and contributes to writing and arrangements. Bad Moves resists the urge to resign themselves to one category or subgenre — although the band proudly identifies as “intellectuals,” an ethos organic to D.C. itself.

CHINI The Maryland-born Chini [Editor’s Note: pronounced Cheney], self-proclaimed as the “Pam Grier of Hip-Hop” after America’s first no-nonsense female action star, is a ball of badass energy. She’s also a musical artist displaced in time.

A modern-day child of the ‘70s, Chini credits the entire decade — with a hint of the ‘60s — for the foundation of her persona.

“I feel like I should have been born in that era,” Chini proclaims. “That’s my image.”

Chini is also adept at flipping a stylistic switch at a moment’s notice. The stage lights and music awaken another side of her, an alter ego manifested before my eyes during our interview. A more appropriate descriptor of Chini is “Jekyll and Hyde performer,” in the most extreme and captivating sense.

“Soundwise, I’m a hip-hop savage,” Chini decrees, with an explosive shift in tone. “When I go on stage, I’m like a butterfly.

And then the beat comes on and I break out in this shit. It catches you off guard.”

Marvin Gaye inspires her background vocals, which she overlays with notes of Biggie, Lil’ Kim and New York ‘90s hip-hop.

She manifests nostalgia for the legendary musical influences who set the stage for current day African-American artists across a wave of genres.

It’s clear Chini is an old soul and a rebel. The first song she ever memorized was Dorothy Dandridge’s “I’ve Got Rhythm” — and she makes it clear

badmoves.bandcamp.com //@badmovesdc

she wants nothing to do with the hits proliferated on today’s airwaves.

“I don’t like today’s music,” Chini says hesitantly before going off the proverbial rails. “I was trying to refrain from saying that, but f--k it.”

She then put her best British accent to use, saying, “It does not sound appeasing to the ear. It’s the same shit, every song.”

Although, the Duke Ellington School of the Arts-educated artist offers some deep wisdom in response to my prodding on how D.C.’s music scene can shed the “what’s on trend” vibe that she denounces.

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Chini. Photo courtesy of artist.

“In the past decade, [D.C.] established itself as a music hub across genres,” Combs says. “Historically, D.C. has been an intellectual city in terms of breaking ground on certain musical genres like hardcore punk, go-go and lots of great rap.”

I couldn’t help but ask about the origins of the band’s name, with curiosity dripping from my question. Though, like most stories about musicians you build up, the explanation is less exciting — but still comical.

“We don’t have [a] good story,” Combs confesses. “We just tossed around a bunch of names and ‘Bad Moves’ was the one we thought would look best on the T-shirt.”

“I think people can: one, commit to their own sound,” she says, “and two, [D.C. can] offer more supportive spaces to make people comfortable with being original.”

None of this honesty is surprising once you spend more than five minutes with Chini. She’s nothing, if not authentic, fearless and true to herself as an artist and individual.

“When you get Chini, you gon’ get 100%.” @chinigettinsaucy

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3 CRAMER

From the moment I listened to CRAMER’s song “Martian,” I was hit with the realist Erykah Badu and Lauryn Hill vibes. It’s high praise for a blossoming artist, but appropriate.

Her lyrics best capture her essence.

Like any artist, she is the accumulation of her influences, but also the embodiment of something original, deep and soulful that oozes from her being.

“My sound is like electric soul, [though] it could be acoustic,” CRAMER says. “There are elements of electric instruments — guitar, looper, vocal processor — but the lyrics give you soul.”

She describes her music as narrations and stories that speak to you on the most intimate level, bringing clarity to your reality.

“Making a story clear, I call that soul,” she says. “Getting to the root of what’s going on internally or painting a picture of what’s going on externally — that’s also soul.”

Music is one of many mediums CRAMER uses to communicate her reflections. Performing on stage with a guitar is a place of refuge, where words come to life and venture out into the world. Storytelling is a passion she’s had for many years.

“I knew I wanted to tell stories before I knew how I wanted to do it,”

she says. “It evolved into, ‘Okay, what resources do I have to make the story come to life the best?’ And music is definitely up there.”

CRAMER feels something almost otherworldly about inviting others into those stories, which she openly articulates without prompting.

“Relating stories to other people [and] bringing them into that world with you, there’s a magic to it. It’s wonderful.”

There’s a freedom you can sense in her voice, which is what drives CRAMER to intentionally seek out local spaces where she can truly unleash.

“I love a good Busboys and Poets stage,” CRAMER says. “I would stand on that stage for five minutes and just be free.”

At the height of the pandemic, she missed spaces like this — even more now as local artists begin to reemerge on the scene. She’s grateful for the wonder and magic those experiences catalyze and knows what you put in, you get out.

“I’ve felt welcomed into the spaces that I have been in,” CRAMER says.

“There’s an atmosphere of sharing in D.C. When I go into a space, I’m very careful to be [kind] to people and share things and [create] a positive atmosphere. And I get that in return, nine times out of 10.” meetcramer.com // @meetcramer

DES DEMONAS

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Jacky Cougar, “the nom de rock” of Des Demonas’ frontman, is the D.C.-based band’s greatest embodiment. He’s unapologetically honest, self-aware — of both his and his band’s faults — complex and armed with a warm, magnetic, 6-foot, 5-inch personality to match his imposing stature.

Cougar admittedly suffers from imposter syndrome among his melodic brethren. Yet his presence and impressive knowledge proves he’s a true student of rock ‘n’ roll, and no one would question he’s a bonafide musician — even if he does.

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MUSIC

MAD KEYS

Like the Kenyan-born Cougar, it’s clear Des Demonas’ sound is fluid — and they wouldn’t have it any other way. When pressed to categorize their sound and genre, Cougar lands somewhere on the spectrum of weird punk (think San Antonio-born Butthole Surfers), post-punk and rock n’ roll.

“My drummer says it’s like rock n’ roll, but some people say post-punk,” Cougar says. “I lean more toward my drummer — the punk part of it is because I can’t sing. So it’s a rock band with a punk singer.”

As Cougar describes it, the postpunk movement spurned a wave of non-traditional artists, including people of color and women eager to dive into the punk scene, emboldened by punk’s perceived rudimentary elements. These details fit Des Demonas’ peculiarity, almost ‘to a T.’ Des Demonas are the antithesis of

legendary megabands like the Stones and Beatles, who deliver traditional, consistently on-key songs. Their songs are akin to chaotic creativity, where structure is a secondary concern to being immersed in a shared place of sudden innovation.

“There’s a moment where you don’t know what the song is and everybody’s just playing something,” Cougar says of their improvisational style of lyric and song production.

And with songs like “Cure For Love,” “Forest Fires” and Cougar’s favorite “The Ballad of Ike & Tina,” off their 2021 “Cure For Love” album, you can’t help but have your curiosity piqued. @desdemonasdc

LEFT PAGE FROM TOP. Cramer. Photo courtesy of artist. Des Demonas (L to R) Swan Hicks, Joe Halladay, Jacky Cougar, Mark Cisneros + Paul Vivari. Photo courtesy of band. THIS PAGE. Mad Keys. Photo courtesy of artist.

Music producer, keyboardist and violinist Mad Keys has an artist name that oozes all kinds of feels. My mind immediately goes to Alicia Keys and John Legend — though he’s so much more.

Mad Keys reels off a diverse list of influences that paint the picture of a cutting edge, hybrid and soulful artist who’s consistently in a space of creativity, innovation and discovery.

“I’m inspired by so many different artists, sounds [and] genres: from gospel to soul to jazz,” Keys says. “But if I can pinpoint a few artists my sound revolves around, it’s a mix of D’Angelo, Herbie Hancock, Flying Lotus and J Dilla. I’m a mix of all of those incredible creatives.”

He also counts Pharell and his early work with the Neptunes among his strongest musical muses.

“Every time I sit down I approach my music with the question ‘What would a Pharell bridge sound like?’”

Keys says listening to his music is like several emotions converging at once, creating a sense of light, energy, fulfillment and freeness. It’s the kind of sound you can feel before you even press play, or before Keys’ hands touch the keys at a performance.

“I want [people] to feel joy, happiness, and purpose. I want them to feel all these things that play a role in their life.”

It’s evident Mad Keys is creating more than captivating sounds. He’s crafting melodies with a greater purpose in mind: Building weapons to help shield lovers of his music from the things in life that can derail them.

“We need a sense of comfort,” Keys implores. “We need safe places [where] we can go. Whenever the world is crazy we can immerse ourselves in music and find our freedom and our way.”

Since Keys’ mom put a violin in his hands in high school, he’s been drawn to music. He needs to create and inspire. Keys feels, in his bones, this is what he’s meant to be doing.

“On a day-to-day basis, I’m continually reminded this is where I’m supposed to be and this is what I want to do,” Keys says. “Nothing feels more liberating than creating music, sharing that music, having fun with it and creating [community] around what I’m doing. That’s the most satisfying and enriching part of it all: the togetherness that music creates.” itsmadkeys.com // @madkeys_ DISTRICT FRAY | 37

LIVE MUSIC IS BACK

B SIDE: 18 LOCAL ARTISTS YOU NEED TO KNOW

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Angela Byrd + MadeInTheDMV Angela Byrd helms the organization MadeInTheDMV, “a think tank for artists, brands, creatives and individuals in the DMV who possess and showcase exceptional talent.”

Since its inception, it’s served as a beacon, support system and advocacy shop for up-and-coming local artists, providing valuable resources and a critical platform for artists’ work and aspirations. Follow them on Instagram @madeinthedm.

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lyrics and harmonious instruments.

The band released the “Two Parents” EP on June 28, 2021. Follow them on Instagram @chillparentsdc.com.

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Baby Alcatraz and the Aurelions Alyssa Bell, better known as DJ Baby Alcatraz, is famous for spinning retro soul albums across the District — from Mt. Pleasant to the now shuttered Velvet Lounge. She describes the sound of her band Baby Alcatraz and the Aurelions (a one-man outfit assumed by her husband, Mark Cisneros, who’s played in D.C. bands Des Demonas, Hammered Hulls, Kid Congo Power and The Monkey Birds) as something resembling a “muscle car engine.” It’s a rumble, thunder and boom materialized by her drum-kit and husband Mark Cisneros’s heavy bass. Follow her on Instagram @babyalcatraz.

3

Chill Parents Chill Parents are savage, noisy, outlandish, deviant and swarming with energy. This three piece D.C. punk rock band combines samples, scream-worthy

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The Julian Berkowitz Trio Julian Berkowitz is an accomplished jazz drummer and bandleader whose trio (composed of a rotating cast of sidemen) plays jazz, swing and fusion ballads. Berkowitz and company are adept at conceiving a combination of high-energy and passionate compositions. You can see him perform on Thursday Nights at Green Island Cafe; Friday Nights at Right Proper Brewing Company in Brookland; and November 6 at the Wine Down Jazz at Library Tavern. Presented by Brij Coffeehouse and Juicebar. Follow him on Instagram @julianberkowitzdrums.

9

Carly Harvey Earning the title of “D.C.’s blues jazz maven,” the Afro-Indigenous artist Carly Harvey delivers spellbounding love songs that incorporate a mix of influences, including blues, jazz and Americana, in the mold of the legendary Etta James. Follow her on Instagram @carlyhmusic.

5

Imka Imka occupies a rare space of pure meditative and restorative bliss. As he “translates biodata from plants into musical notes,” Imka invites listeners to explore an unworldly and tranquil biosphere of sounds and reflection.

His EP “Health,” released on October 22, 2021, is now available to stream on Apple Music. Follow him on Instagram @officalimka.

8

Bartees Strange This English-born American producer and songwriter boasts an infectious mélange of acoustic and post-punk, with a suggestion of soul influences and a balanced dosage of screaming, just in case you should forget his roots. The son of an opera singer, his vocal control is perpetually on full display.

He most recently released “Say Goodbye to Pretty Boy” on March 13, 2020 and “Live Forever” on October 2, 2020. He is currently on tour with Lucy Dacus. Follow him on Instagram @bartees_strange.

4

Clear Channel Clear Channel has deep dance-punk roots that lean heavily on shrieking vocals and bass. They are enigmas who give little attention to “coolness,” which effortlessly pervades their music.

There’s an “It” factor to their sound which keeps you coming back for more (and more). Follow them on Instagram @clear__channel.

Lightmare The six-person Lightmare coined the term Soulpunk to declare their contradictory sound: a mix of anger and intimacy. Recent releases include “All Cats Are Beautiful” (single, 2021) and “Kill the Butcher” (single, 2021), both from their upcoming new album “Dirt.”

Upcoming releases “Sad Boi” (single, Oct 21 2021, streaming everywhere) and Dirt (full LP album, October 29, streaming everywhere). Check out their upcoming shows on November 26 at The Fuzzy Cactus in Richmond, Virginia, with North by North; and November 27 at DC9 Nightclub in Washington, D.C.,

with North by North. Follow them on Instagram @lightmare.dc.

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Magazine Beach This high-spirited power punk band evokes some serious late ‘90s/early ‘00s alt-rock vibes. They also have the coolest, most summer vibeinducing name on the planet. The band released its second EP entitled “Friendless Summer” in 2020 and will record their first full length album in January or February of 2022. Check out their upcoming shows on November 5 at the Tabernacle (house venue) with Latchkey Kids, America Jayne and Bravely; and November 15 at Pie Shop with AllegrA. Follow them on Instagram @magazinebeachdc.

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The Owners Channeling the full force of their collective punk roots, the Owners emerged from the chaos of the pandemic.

The group is a superband of sorts, composed of Dante Ferrando and Catherine Ferrando (owners and stewards of the iconic Black Cat) and Al Budd and Laura Harris (yes, the very same Harris from garage rock band Ex Hex). Check out “Pandemic Demo - Live at the Black Cat,” released on March 21, 2021 at theowners1.bandcamp.com/releases.

12

Saffron This hardcore three piece band’s vocals linger on two wavelengths: clamorous and volatile. Saffron delivers loud, fast, hard and decisive ballads. Check out their next show on December 11 at the Ottobar in Baltimore with The Ergs and Dinged Up! Saffron released the album “Demolition Now!” on January 28, 2020. Follow them on Instagram @thebannedsaffron.

13

Scorpio Local indie-rockish darling Ali Vega’s recent work ranges from ballads with an ethereal levity to kinetic sounds you’d happily stream on a sunkissed Sunday drive. Best known for her time strumming bass and guitar strings for local dream-pop band Lavender, she launched a solo project under the name Scorpio. Her first EP “Afterthought,” released in March 2019, earned praise from DC9 Nightclub as “bedroom and surf pop played with the sensibility of an Adidas lesbian.” Follow her on Instagram @scorpio.MP3.

MUSIC

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Sneaks Eva Moochalan, known as “Sneaks,” is a spoken word and post-punk artist whose musical creations are undeniably of the dark synth-pop persuasion, likened to an ‘80s video game soundtrack. Her album “Happy Birthday” was released on August 21, 2020. Follow her on Instagram at @sneaksband.

15

THFCTRY Guided by hosts Matt Jackson and Avery Showell, THFCTRY radio is a weekly dive into the DMV’s rap and hip-hop community. The duo has been busy, launching a monthly party series at Eaton Hotel’s famous Wild Days Rooftop called THFCTRY & Friends. They also recently played the Kennedy Center’s Millennium Stage for Labor Day weekend, which included DJing a set of upcoming local music to open for Questlove’s screening a “A Summer of Soul.” Follow them on Instagram @thfctry.

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TOB TOB is a D.C. go-go band of the highest order. They carry on the proud bounce music tradition, with a high-energy, innovative, powerful and contagious call-and-response sound that pulls in hiphop influences and the creative artistry of its multiple members. Follow them on Instagram @tobbandandshow.

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Turnstile It’s rare for an African-American artist to ascend the throne of punk royalty. Bassist Franz Lyons and Turnstile, who subscribe to an aggressive, high-speed sound that drips of ‘80s rock and ‘90s alt-rock influences, are breaking the mold. Hailing from Baltimore, Maryland, the five piece band boasts the title “standouts of the hardcore punk scene.” Turnstile released the album “Glow On” on August 27, 2021.

They are currently touring North America with two stops in the U.K. in early 2022.

Follow them on Instagram @turnstileluvconnection.

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Two Thumbs Down Self-described “Indie-punk cuties + gremlins from D.C. and NYC,” Two Thumbs Down’s sound fluctuates between backyard high school nostalgia and matter-of-fact lyrical genius. They have the dexterity to throttle down or escalate their speed on a dime. Check out their new LP “END ALL BE ALL,” available November 15. Follow them on Instagram @twothumbsdowndc.

Ankush Bahl. Photo by Scott Dobry.

SECRET TRACK: ANKUSH KUMAR BAHL

The torchbearers catalyzing the District’s musical metamorphosis are not limited to punk and go-go standouts. Classical maestros like Ankush Kumar Bahl are blazing the trail for the many artists that will surely follow in the years to come. Ankush Kumar Bahl, the 13th music director in the Omaha Symphony’s 100-year history, is based in Arlington, Virginia and widely recognized among peers, orchestras and audiences for his superb and unique approach to conducting.

District Fray: Do you have a ritual or routine that helps ground you before creating or conducting?

Ankush Kumar Bahl: Before the week of [a] concert, I make sure I have done all of the prep work required to have a great performance: studying scores, working out my interpretation of the piece and thinking about my goals for each rehearsal. After that, I spend a lot of quiet time deepening my relationship with the music and visualizing through the rehearsal process and the performances. When I am able to do that, I feel energized and excited for the phenomenal music making opportunity ahead of me.

Do you have a favorite venue in D.C. where you’ve performed?

AKB: I have conducted at a number of amazing venues in D.C. and am

very appreciative of those opportunities.

Of course the Kennedy Center is a beautiful and monumental place to ‘go to work’ but I have had the fondest memories of concerts where we were in the community doing concerts as part of our “In Your Neighborhood” series all over the D.C. area. I have had amazing experiences doing concerts at community centers in Kenilworth, high school auditoriums in Columbia Heights, [ Atlas Performing Arts Center] on H Street and Union Station. Sharing orchestral music where residents of D.C. already live is one of my favorite things.

How would you describe your unique approach to the art of conducting?

AKB: I chose to pursue conducting because I felt like it was the singular best way for me to make

music and share this art with the greater public.

Also, since I played in orchestras for decades, it was those experiences that inform the way I rehearse and conduct. My goal is to always empathize with the 100 musicians on stage and try to set them up for a very successful concert, whether through my physical gesture or the rehearsal process and then have fun in the performances. I believe when the musicians are extremely comfortable and confident and are also engaged with each other and the music, the show will go well. The audience feels that energy and it can be a transformative experience for everyone.

When we can get to that place in a concert, it is completely intoxicating and makes me feel extremely fortunate to be able to do what I do. ankushbahl.com // @omahasymphony DISTRICT FRAY | 39

LIVE MUSIC IS BACK

The Resurgence of D.C. Music Venues

WORDS BY NICOLE SCHALLER

D.C. was forced to say goodbye to many memory-filled clubs and music venues that permanently closed their doors over the past 20 months due to the pandemic. There is a silver lining, though: The closures allowed surviving venues to innovate and new ones to emerge. As we continue to transition to a post-shutdown world – while living in Covid limbo – there are a plethora of new venues popping up around the D.C. area. The District’s evenings are slowly beginning to buzz once more with eager concertgoers and clubgoers alike. From small venues to new theaters, here are some of the best venue changes and new spots keeping our music nightlife alive and thriving.

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MUSIC

Songbyrd’s New Nest at Union Market Last month, the beloved Adams Morgan vinyl shop-music venue-cafe hybrid moved to its new home in Union Market District where the Coconut Club once resided. With 18-foot ceilings, garage-style sliding window doors and a spacious patio, the open-air venue is a departure from the former cozy, but sometimes cramped Adams Morgan location. After closing Songbyrd Music House down for Covid, owners Alisha Edmonson and Joe Lapan saw the window of opportunity to relocate.

“Prior to Covid, we separated the record shop from Songbyrd and opened Byrdland at Union Market,” Edmonson says. “It’s a great community and businesses kind of thrive together. Then, we were looking at our old space, and asking ‘Is this right for whatever we call post-Covid or existing in Covid?’ So, when the opportunity came, it seemed like the right thing to do.”

In a post-shutdown world, the openness and outdoor tables are a welcoming amenity. Songbyrd currently offers a variety of concerts and events, including free live music and trivia nights that allow people to integrate back into the social and music scene again at their own pace.

“Some people emailed us and said, ‘We’re not comfortable being inside yet. Can we sit outside and still participate, for trivia night or free events?’”

Edmondson says. “But then for the people inside, with the two huge roll-up doors it also feels like outside with all the airflow.”

Songbyrd’s new venue also allowed them to shift focus to creating a suitable place for hosting musicians, while providing an innovative space designed for the audience — especially the height-challenged concertgoer.

“As a 5-foot, 4-inch person, I can see all the artists on the stage from any place,” Edmondson says.

“With the space, instead of going long and narrow, I went taller and wider for the stage. You’re never more than 25 feet away from the stage in any direction.”

The acoustic quality was also important to get right in the new space and is something both owners are proud of achieving.

“How we treated the walls and with the ceiling heights, the sound is amazing,” Edmondson says. “It’s loud without hurting your ears.”

Lapan adds, “We’ve gotten a lot of compliments on how it sounds.”

While the cafe aspect is taking more of a backseat, the menu still features bar food like burgers and quesadillas, but with an emphasis on more portable and healthier options, including a better balance of vegan and vegetarian choices.

Plans are also in the works this month to open for brunch.

Songbyrd will still feature an eclectic mix of up-and-coming performers. There are plenty of names to look forward to: breakout indie star Tai Verdes, R&B hip-hop artist RIZ LA VIE and alternative rock band Carver Commodore.

“I’m amazed this year at how many of our acts were on large summer and fall festival bills,” Lapan says. “If you didn’t make it to the festival, there’s a lot of those artists that stop by here.”

Although the AdMo location will be missed, Songbyrd’s new home creates opportunities the original place was not suited for.

“The old space went beyond our wildest dreams: we got to visit amazing artists and its popularity [exploded],” Lapan says. “Now, we have what I consider a really legit awesome small venue that is not forced to be something it’s not meant to be.”

Songbyrd is open Sunday to Thursday from 5:30 p.m. - 12 a.m., and Friday and Saturday from 5:30 p.m. - 2 a.m. Ticketed shows range from $12-$22.

Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

Moon Tide Gallery at Songbyrd. Photo by Tim Kubasik.

DISTRICT FRAY | 41

LIVE MUSIC IS BACK

Room 808 Revives Comedy + Jazz The best feel-good music venue story to emerge from quarantine is the new comedy and jazz club Room 808. The Petworth venue was initially conceived by a performer wanting to do live stand-up again. Room 808 has since rapidly spiraled into a successful multidisciplinary space for creatives.

Two years ago, owner and comedian Martin Amini was living and working in Los Angeles. After starting out in the District in 2012, Amini moved to L.A. in 2019 with a full-time stand-up residency at Sunset Boulevard’s Comedy Store.

When March 2020 rolled around — as the story infamously goes — clubs closed and shows came to a screeching halt.

As Amini recalls, “When Covid hit in March 2020, I was in D.C. doing a show and I never got back on the plane to L.A. I thought it was only going to be a month.”

After 18 months, Amini gave up his apartment in L.A. and continued to wait out the pandemic in D.C. He witnessed all the places and venues he attributes to his start permanently closing. That’s when he took initiative.

“I took it upon myself to create an intimate space where the comedy scene can come to work out their jokes,” Amini says.

Amini decided to open Room 808 this past June so he and fellow comedians could coalesce. The BYOB venue is a cozy, colorful space with emerald painted walls and rudimentary whimsical artwork adorning them.

A vintage Persian rug and wingback orange velvet chair from the ‘70s mark the stage from the audience, which adds to the quirky space’s charm. The setup is so inviting it caught the attention of Amini’s musician friends.

“While doing comedy shows here, a lot of my musician friends told me how much they love the space and that it’s perfect for small intimate shows,” Amini says. “I then started integrating some of my music friends into the shows. One thing led to another, and we started combining the music and comedy into the same space.”

The organic addition of music provides a unique audience experience and innovative employment solution for entertainers. And with Amini’s connections on both coasts, the show lineup quickly became a must-see of

42 | NOVEMBER 2021

up-and-coming stand-up performers, with many visiting comedians having starred on platforms like Netflix, HBO and Comedy Central.

As Amini explains, “Every Wednesday, we have a speakeasy comedy showcase, which started off as my comedy class during the pandemic. It’s grown into one of the top Wednesday shows in D.C. for comedy.”

Thursday is a hybrid of comedy and music that Amini pre-books; Friday and Saturdays feature an underground company with artists from L.A. and New York. Room 808 also provides complimentary video, lighting and

photography equipment for booked performers to help record their sets.

“Everyone’s blown away at how fast this place has gotten up and running,” Amini says “I think that’s just a testament to the scene here in D.C. The audience is so supportive of arts, comedy and music.”

Room 808 is open from 12-5 p.m. on Mondays, 12-10 p.m. Tuesday to Thursday and 1-11:30 p.m. Friday to Saturday.

Tickets range from free to $20 depending on the show.

Room 808: 808 Upshur St. NW, DC; room808dc.com // @room808dc Room 808 performance. Photo courtesy of venue.

MUSIC

The Runaway Lands in Brookland Petworth’s rock ‘n’ roll burger and music bar Slash Run is welcoming its sister venue The Runaway in Brookland. Set to open in early 2022, its name is a nod to the iconic ‘70s rock band namesake — and its vibe will relish all aspects of that era. Owner Christine Lilyea sets the scene on what to expect.

“Picture a black motorcycle leather jacket,” Lilyea says. “That’s how I want you to view the space when you first walk into the bar.

Very feminine, but also masculine, and very ‘70s. I’m trying to make it really kitschy with the glassware and decor being all vintage.”

In comparison to Slash Run, The Runaway will be better suited for music performances than dining. The space has a designated venue area with a dining room, which also turns into a venue.

“The stage is going to be bigger [than at Slash Run],” Lilyea says. “It’s going to be more geared toward touring bands because we’ll have a green room.”

The Runaway will still offer burgers, although Lilyea is set on making them “weirder.” Think black buns with unusual combinations. All of the menu items are planned and inspired by The Runaway band members and songs, like the “Cherry Bomb” burger, which will include cherry compote and brie with the burger. There will also be more vegan forward options than Slash Run, and a focus on celebrating the vegetable as a burger instead of using meat substitutes.

The Runaway will be two floors. There will also be a larger outdoor dining space in the back patio and a café sidewalk in the front.

While the lineup is not yet finalized, genres you can expect include lots of rock, soul and punk bands from both the local scene, as well as ones on tour. Lilyea also plans on vinyl DJ dance nights on the second floor with a DJ booth Lilyea proudly repurposed from an old large-box television.

She’s excited to see her vision come to life — and we can’t wait either.

“It’s not going to be just a bar where you go to hang out. It’s going to be an experience.

The music’s going to be right, everything’s going to tie in together. And I joke about this but I’m a little half-serious: Leather jackets are required.”

Set to open early next year, The Runaway does not have a website or hours listed at the moment. Stay tuned.

Slash Run: 3523 12th St. NE, DC; slashrun.com // @slashrundc

The Shivas at Comet Ping Pong. Photo by Sam Ahern.

DISTRICT FRAY | 43

LIVE MUSIC IS BACK

NEW IN TOWN 9:30 Club Replica

The timeline is TBD, but the buzzworthy announcement from Dave Grohl at a surprise Foo Fighters concert last month has left the entire city in anticipation. It is set to be an exact replica of the original 9:30 Club.

There’s a nostalgic factor — while piquing the curiosity of the newer generation who love the current venue. 2047 9th St. NW, DC; 930.com // @930club

Capital Turnaround

Union Stages Group’s new addition Capital Turnaround is a truly unique venue.

Formerly a historic car barn in the 1800s, this now 850-seat venue is already attracting touring musicians including The Milk Carton Kids, Richard Marx and Gus Johnson.

770 M St. SE, DC; capitalturnaround.com // capturnaround

Focus Social Club

The swanky new club Focus is helping bring H Street back to life. The three-level space is decked out with a marbled bar and hanging flowers. Nights dedicated to R&B, reggae and Afrobeat are frequent. Hookah is offered and happy hours extend to 8 p.m. Bonus: The space is also a restaurant and known to serve a solid brunch after a night out. 1348 H St. NE, DC; focusindc.com // @focussocialclub

Mayflower Club + Zebbie’s Garden

The new club and lounge lives up to its name: Flowers are anywhere and everywhere. Reminiscent of a fairyland, the pink and purple ambient lit space has cherry blossoms draping down from the ceilings, plant walls surrounding neon light art, and swings dotted throughout. Mayflower Club on the lower level is designated to craft cocktails and dining, while Zebbie’s upstairs is reserved for dancing. Expect rotating DJs, house music nights and many photos for Instagram. 1223 Connecticut Ave. NW, DC; mayflowerclubdc.com // @zebbiesgarden

The Pocket // 7DrumCity

Opened in 2019 and overshadowed by the pandemic, this music venue and bar provides an intimate space for local musicians to perform. 7DrumCity is designated for people to learn and practice music by offering lessons and breakout rooms, while The Pocket serves as the venue for local acts to hold concerts and get their start. 1506 North Capitol St. NW, DC; thepocketdc.com // thepocket_dc

Sachi

Staying on trend with wildlife, this new venue only a few blocks from the White House, is adorned with bright green hanging plants cascading from the ceiling.

The Babylon Group-owned club décor is a nod to Asian rainforests with lanterns and Buddhas. With a 27-foot bar, the large space

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Comet Ping Pong’s Outdoor Concert Series In the quaint idyllic streets of Van Ness [Editor’s Note: the writer lives in Van Ness and is biased], Comet Ping Pong serves as the exclusive nightlife place in the neighborhood. Comet’s head music program manager, David Combs, curates some of the best local and indie bands, like The North Country and Mystery Friends.

Over the course of the pandemic, Comet decided to turn the back parking lot behind the restaurant as an impromptu extra dining era — and eventually a stage to feature outdoor live music for people still hesitant to see concerts indoors. The outdoor concert series enabled Comet to reach a whole new audience for its music events.

“People would be seated and dining, which is a different atmosphere from a late-night show with standing room only,” Combs says. “We’re an all-ages venue, but at these outdoor shows, we see a much wider range — anywhere from children to people who might not want to have to stand up for several hours for a show.”

The change in setting also allowed Combs an opportunity to book different types of genres.

“For outside, we’re only doing acts, which perform at a lower volume,” Combs says. “There are certain genres of music I

was able to book like bluegrass and jazz, which tends to have an older clientele. Folks in the neighborhood are coming out whether or not they know the artist because it’s a nice event.”

Outdoor concerts will end in October and Comet will continue to transition to a full lineup of indoor concerts in 2022. Combs excitedly teases several bands.

“We’ve just announced a two-night record release show for a local metal band Genocide Pact in December. We’ve got a great post-punk band, Sweeping Promises, coming soon; Whitmer Thomas, who is an actor and comedian [and] has a synth-pop band, performing in December; and an Austin, Texas indie rock band called TC Superstar coming through. And all of them are playing with great locals which makes it even more awesome.”

Comet Ping Pong is open Monday to Thursday from 5-9:30 p.m., Friday from 4-10:45 p.m., Saturday 11:30 a.m. - 10:45 p.m. and Sunday 11:30 a.m. - 9:30 p.m. The outdoor concerts ended in October. Tickets range from $15-$18 for standing shows, $20-$80 for seated concerts.

Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong

is set to hold a crowd of 400. Artists like Trey Songz have already dropped by and you can expect club music from top hits, EDM and Latin. 727 15th St. NW, DC; sachi-dc.com // @sachinightclub

Twelve After Twelve

Despite a controversial start and agreeing to a name change, Twelve after Twelve — which is also owned by The Babylon Group — is providing D.C. nightlife with an eclectic Victorian-style dance and lounge. Formerly occupied by the Eighteenth Street Lounge, the venue has four dance floors and five bars and plays a variety of music that’s not always typical in a modern club. Soul, funk, jazz, and disco are all fair game. 1212 18th St. NW, DC; twelveaftertwelve-dc.com // @twelveaftertwelve

TRIED + TRUE Blues Alley’s Jazz Club

Capital One Hall Ignites Nightlife in Tysons Capital One Hall recently opened in Tysons and is already attracting large music names like Josh Groban and Little Big Town. Its state-of-theart acoustics and impressively grand architecture makes it a destination for D.C. area music and theatre aficionados. The new addition helps redefine Tysons’ community and aspires to change how people view the area.

“What better way to create some energy, which has somewhat of a deficit in terms of arts and event spaces?” says Capital One Center Managing Director Jonathan Griffith.

“There’s a lot of growth, and we’re transitioning away from the stigma of huge shopping malls. We want to create a sense of community to live, work [and] play — and now we’re introducing that element of culture and the arts into Tysons.”

The venue can seat 1,600 people and is designed like a Broadway theater, which balances its large size with still an intimate and personal feel to the space.

“There’s really no bad seat in the main theater,” Griffith says. “What makes it special is the artist is able to connect with everybody in the room.

As an audience member, you feel like

you’re on stage with some of these fantastic musicians and artists.”

In-house concessions are available at shows, with a robust list of local distilleries and wineries featured on the menu, like Starr Hill, Early Mountain Vineyards and Barboursville Vineyards.

The upcoming lineup will continue to feature big names including Darren Criss and the Broadway play “Waitress.” With the consistent exciting mix of Broadway, music and comedy, people are traveling far and wide from across the DMV region to visit the venue.

As Griffith notes, “A lot of folks in Ballston, Clarendon and Rosslyn who have historically had an aversion to Tyson’s are now coming out. I haven’t seen that for the 18 years I’ve been in the area.”

Capital One Hall is open when shows are scheduled. Various ticket prices depending on the show. Visit capitalonehall.com for details on show dates and prices.

56 years and still standing strong after a pandemic is a true feat. The 125-person Georgetown fixture has hosted some of the finest jazz performers through history including Miles Davis, Charlie Byrd and Eva Cassidy. It’s reopening after murmurs of relocation or permanent closure is welcomed news. 1073 Wisconsin Ave. NW, DC; bluesalley.com // @bluesalleydc

DC9 Nightclub

As one of the only smaller indie venues booking both local and national bands left (RIP Rock & Roll Hotel and U Street Music Hall), DC9 carves out a much-needed spot for indie music fans — and they do not disappoint. DC9’s show lineup is packed with live music almost every night in the month of November — sans Thanksgiving week. 1940 9th St. NW, DC; dc9.club // @dc9club

Pie Shop

Since expanding to a music venue three years ago, Pie Shop quickly became an H Street stalwart for indie, rock and punk music.

Along with their delicious pie, Pie Shop curates a line-up of local and touring bands.

1339 H St. NE, DC; pieshopdc.com // @pieshopdc

Rhizome

Rhizome is a nonprofit community art space in Takoma. Pivoting from an indoor to outdoor music venue since the pandemic, they have been able to safely hold concerts and allow more Covid-wary people a chance to enjoy live music. The concerts feature an eclectic mix of music from local and east coast bands, with performative art shows peppered in through their event calendar.

6950 Maple St. NW, DC; rhizomedc.org // @rhizome_dc

Capital One Hall: 7750 Capital One Tower Rd. Tysons, VA; capitalonehall.com // @capitalonehall

Josh Groban at Capital One Hall. Photo courtesy of venue.

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ALIVE + KICKING We worked with a local artist to put together our visual love letter to some of the District’s most iconic music venues bringing independent music to our city — despite the challenges of the last 20 months.

46 | NOVEMBER 2021

ILLUSTRATION BY BENJAMIN SLYNGSTAD

Follow Benjamin on Instagram @slyngstad_cartoons.

Photo by Drew Xeron.

Kingsley Model + Talent Management (KMTM) is a boutique, full-service talent agency based in Washington, D.C. that specializes in providing top diverse talent to fulfill the commercial, print, runway, acting and specialty needs of their clients.

www.kingsleymanagement.com • IG/FB/Twitter/TikTok @kingsleymodels • 202.559.9334 • info@kingsleymanagement.com

YOUR OWN

CURATE LIVE MUSIC IS BACK

48 | NOVEMBER 2021

D.C. PLAYLIST 10 Releases from Local Artists Worth A Listen WORDS BY ERIN CLANCY + RIN RYAN

The D.C. music scene has always been a vibrant intermingling of world-class musicians with roots in countless genres. As the world attempts to recover from Covid-19, both new and established acts from the area are barreling back headfirst into the music scene — and they’ve got a lot to share.

Read on for our reviews of 10 local artists’ impressive new releases.

AZURE WOLF “Tensions” Azure Wolf, a female-fronted, Winchester, Virginia-based band, is hitting the local scene with their debut album “Tensions” — and it lives up to its name.

The compilation, which includes edgy, sorrowful ballads and high-energy punk with emo-rock infused tracks, successfully blends a spectrum of genres and emotions. The top track “Honey Rush” is at once a thrashing cry for liberation and a delicate yearning for love. The song starts with a deep, pounding bass and a careful, shaded guitar riff, a sound evocative of an apprehensive desire. The strength of the verse continues to ramp up, with the lead singer proclaiming her power: “Still I’m breaking hearts and I’m moving on,”

exploding into an unrestrained chorus supported by an urgent guitar and a faster, more layered sound. Lead singer Victoria Backle, whose elegant yet soulful belts are a tension in themselves, shines with a powerful display of vocal nerve.

“Earth Didn’t Stop” is another stand-out track, impressive for its lyrical depth and simplicity. It is a slow, melodic and dreamy contemplation of mourning that asks: How can the earth keep turning when a loved one dies? Again, the tensions the singer feels are apparent within the chorus, with a brief nod to an afterlife that becomes quickly grounded by the grief of earthly experience: “An angel got her wings/but I often think/

why the earth didn’t stop that night.” The band’s debut album is a preview of the spectrum of humanity, with highs, lows and contradictions that somehow still work.

Catch Azure Wolf at one of their upcoming performances: November 5 at Bright Box in Winchester, Virginia; November 26 at Pearl Street Warehouse in D.C.; December 2 at the Pocket in D.C.; December 12 at Pie Shop in D.C.; December 31 at First Night Winchester Festival in Winchester, Virginia. For more information on Azure Wolf, visit azurewolfmusic.com or follow them on Instagram @azurewolfmusic.

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BRNDA “Do You Like Salt?”

BARTEES STRANGE “Live Forever (Deluxe Version)” Bartees Strange’s debut album, “Live Forever,” was released in October 2020 and reflects the same angst widely felt during the height of Covid-19. Opening track “Jealousy” is one of the most contemplative and subdued tracks on the album, leveling in stark contrast to the gamut of other songs infused with strong arena-rock, punk and hip-hop influences.

“Boomer, ”which has streamed over 1 million times on Spotify, features Bartees at his strongest. The upbeat, rap-infused alternative pop beat refuses to box itself in, with Bartees’ powerful voice relaying a measured angst in the verse, building to a sweeping, woeful chorus almost akin to an explosion: “And right when I get all my hopes up, something explodes lord/I never win.” The Deluxe Version, which was released this October, features two new tracks: “Weights,” a melancholy punk-rock meditation on lingering 50 | NOVEMBER 2021

feelings after a breakup, and “Flagey God Redux,” a rawer, stripped-down version of the similarly upbeat “Flagey God.” The original track, with a hazier, more layered production, matches the artist’s nebulous emotions: “If I was wrong/Let me be/I feel like a ghost right now,” while “Redux” is a refreshing rejection of this uncertainty with its light, airy riffs and rhythmic pulses. The remix of “Flagey God” is also a clever reimagining of a song about déjà vu: “Girl, you asked me if I get the déjà vu/I do with you.” You might get a little déjà vu from “Live Forever” (Deluxe Version), but don’t miss the opportunity to hear these amazing new tracks from this burgeoning star.

For more information on Bartees Strange, visit barteesstrange.com or follow him on Instagram @bartees_strange.

BRNDA, a D.C.-based band with a flair for the absurd, is taking post-punk to new heights. The band’s selfproclaimed rules — no love songs and no covers — might seem to impose limits upon their material at first glance, but after listening to their discography you’ll quickly realize the assumption is wrong. BRNDA’s third album “Do You Like Salt?” centers questions above all else.

“Perfect World” highlights the group’s irreverent worldview, bolstered by upbeat, playful riffs reminiscent of the B-52s.

The track offers a choice of one of two doors: “You’ll have a friend with a friendly dog/ you’ll be a friendly neighbor and give high fives” or, “You’ll go to sleep knowing you have made a contribution.”

Both are, according to the chorus, the perfect world.

Pretty nice, right? Wrong.

BRNDA reminds us those doors represent the illusion of choice – and they do it with a smile on their faces.

What’s more, BRNDA’s sound is just as eclectic as their perspective: the album is jam-packed with bouncy riffs, at times shimmery and light, at other moments marked by a satisfyingly caustic edge that underscores the band’s satirical, tongue-in-cheek lyrics. They’re a group who’ve done their research, scouring the musical spectrum of new wave, punk, indie rock and much more to arrive at an alluring concoction of music’s greatest sounds and neverending twists.

Check out BRNDA at their upcoming show on December 10 at Lost City Books in D.C. For more information on BRNDA, visit brendatheband.com or follow them on Instagram @brndatheband.

MICAH “Genesis” All moody melodies and smooth vocals, Prince George’s County-based Micah Alexander released his first EP “Genesis” this year. The collection is Micah’s very own beginning story — and just like its biblical name suggests, “Genesis” uses heavenly vocals to construct a transcendent sound. It opens on “Stuck,” with Micah crooning “I never had time for love/but baby you’ve got me stuck” over a stripped-down, lo-fi beat, and the effect is almost tranquilizing. Metaphors for new beginnings or experiences weave their way throughout the entire project. “Way I Feel” is a story of self-discovery: independence from a lover who may have held him back and a willingness to embrace new life. Micah sings “I don’t really need no one to make me feel the way I feel.” Micah uses this project to debut on the DMV music scene as both an independent, and perhaps heavenly-fated musician. His final track is a hymn to self-love and growth as Micah acknowledges those who might not trust or approve of him — and then questions why they stay in touch. He aligns himself with those who offer love and support, establishing his own doctrine of clear intent and loyalty. The EP is a journey through Micah’s trials and triumphs, with backings as strong and steady as a heartbeat woven throughout.

Follow Micah on Instagram @micahismusic.

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RDGLDGRN “Unreleased Singles” Coming out of Reston, Virginia, RDGLDGRN is a seasoned band with the artistic chops to support their long-time immersion within and beyond the local music scene.

The group recently released an album called “Unreleased Singles,” which grants listeners access to a never-before-heard RDGLDGRN Stand-out track “Turn” is a perfect callback to RDGLDGRN’s eclectic roots, filled with notes of indie and alternative rock, hip-hop and rap.

The heavy, rhythmic beats and the improvisational nature of the verses also calls out to a specifically R&B sensibility that RDGLDGRN harnesses with gusto. The lively song is both a pensive reflection on life and a track that asks more than it answers: “Don’t you wanna feel proud/don’t you wanna get out?” Still, despite this tendency to question, RDGLDGRN offers one simple conclusion: “I’m thinking turn it up.” The track ultimately becomes an ode to authenticity and the importance of living in accordance with one’s values: “What we’re doing is organic like it’s produce/and this love for this music should console you/never ever let the industry control you.”

“Unreleased Singles” also offers more thoughtful lyrics about taking life by the reins. Another notable track, “Elevators,” opens with a jamming, upbeat riff and an almost accusatory proclamation: “You need to get like me/forget about the world and its tragedies.” Ultimately, the album is an urgent call for reexamining one’s priorities, with elements of fun, lighthearted beats and cogent lyrics. Perhaps RDGLDGRN took their own advice by lifting the veil of authenticity and releasing these previously vaulted singles — and we’re glad they did.

For more information on RDGLDGRN, visit rdgldgrn.com or follow them on Instagram at @rdgldgrn.

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SCORPIO “Post Its” The independent project of “Lavender’’ bassist and guitarist Alli Vega, Scorpio meshes indie-rock vocals with heavy, clashing guitar and synth waves. Vega’s been busy in 2021, dropping singles “I Was Waiting For You To Call” and “Post Its” consecutively. Vega’s voice is confounding: deep and raspy, with a slight nasal tonality that reminds you of listening to punk-rock in someone else’s basement with a beer in hand.

Vega’s music scrapes close to punk with impressive riffs and cleverly placed dissonance.

“Post Its” is decidedly angsty, a more mature version of a hit like Olivia Rodrigo’s “good 4 u.” “Post Its” starts with Vega singing, “Pull me close before you go/whisper sweet uncertainties/while we watch old reruns/on your roommate’s new TV.” Listening to her sing, you can hear the layers of confusion and frustration that come with a rocky relationship.

As she puts it, “On and off and on and off and on and off and on and off again.” It’s the kind of love that makes you want to put your head through a wall, an eternal dance of vulnerability without any steps to follow.

“I love when you say you love me,” she sings, “but don’t let it go to your head.” Nearly everyone has had a relationship like the one in “Post Its,” and you don’t need to be guided by the stars to tell you’re headed for heartbreak. Rough around the edges but somehow still vulnerable, this release has us all the more excited for Vega’s plans in the coming months.

Scorpio will be releasing new content now through the end of the year and recording live vinyls in December in collaboration with Leesta Vall records. Her first EP is expected in early 2022. Visit Vega at linktr.ee/scorpio.mp3 or on Instagram @scorpio.mp3.

SUNSTONEY “In Your Apartment” One of the only full-fledged albums on our list, Sunstoney’s “In Your Apartment” is all experimental R&B soundscapes and trancelike vocals. The album is a melancholic exploration of love, depression, missed connections and hazed out nostalgia. It’s intimate and slow moving like a night spent alone with your own thoughts, locked doors and solitude. “Had it up to here with you babe/what a shame what a shame/ is it ever gonna change/for you,” she sings, “Where’d you go?” As the album moves on, her probing and discontentedness become indiscriminate, and it feels almost impossible whether Sunstoney is singing to some nameless lover or to herself. Each track flows into the next circa The Weeknd’s 2012 “Trilogy” mixtape. Tracks no. five and eight “It Is What It Is” and “Egg Shells” are a lighter, more energetic interlude next to

soft listens such as track 3 “Astral Plane.”

The album’s hidden gem however, is no. 6: “Lock You Up.” Sunstoney’s vocals shine here, vibrant and soulful as she sings, “I’m in your atmosphere/won’t you come closer dear,” and bemoans the unsecured nature of new relationships, wanting to lock someone down no matter how early. We are under Sunstoney’s spell, entirely taken away by her timeless sound. The album closes on bonus track “Factories,” beginning with a triad of notes that mirror. “Factories” is truly the bonus it’s proclaimed to be, filled with intentional stylizing, yearning melodies and vivid lyrics.

Keep an eye out for her soon-to-be confirmed November and December show dates. Get to know Sunstoney at linktr.ee/sunstoney or on Instagram @sunstoney.

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SHAOLINN “Blackstone” Shaolinn’s “Blackstone” is an intoxicating meditation on pain and loss. The hazy, dreamlike music offers a stark contrast to the thoughtful, cerebral lyrics, ultimately lending to a heady narrative that is at once emotionally intimate and deliberately restrained. Opening track “Heavy Heart” is a perfect example of the singer’s lyrical prowess. An upbeat yet contemplative reflection on the tribulations of youth, the song spotlights a pensive Shaolinn who confesses the role she’s played in her 54 | NOVEMBER 2021

own pain: “I always had a heavy heart/I always had a rough start/but I never tried to take the time/to tell them that I love them so/even when they’re walking out the door/if I just told them how I really felt/I wouldn’t have a heavy soul.” The EP offers more melancholic musings on romance, with “Frank” exploring the tension between desire and authenticity. In it, a conflicted Shaolinn sings affectionately of a lover: “I can’t comprehend/I love the way you dance,” yet she still reaches the self-preserving conclusion that she’s

“gotta leave.” The EP’s diverse spectrum of emotions matches the multitude of musical influences in the young artist’s work. While it echoes the soulful improvisation of R&B, its lo-fi vibe, alternative beats and layers of synth are reminiscent of the experimental sound of revered psychedelic artists like Mac Demarco.

Catch Shaolinn at her upcoming show on November 5 at City Winery in Ivy City.

Follow her on Instagram @samuraishao.

TOMMI TSUNAMI “Brand New Nigga” “Brand New Nigga” is the latest in slew of 2021 singles including “Upperhand,” “PARANOID,” “Baby Gangsta” and “OMW,” soon to be joined by Tsunami’s newest release “Violin” on October 29. “Brand New Nigga” is a perfect showcase of Tsunami’s deep vocals and ultra-smooth flow as she raps over a looped beat, promising to replace her man with a new one now that she’s grown bored and tired of his presence.

She opens up the track with a wish list for her new man, venting “I want a nigga I ain’t never ever seen before, a nigga I ain’t even thought up in my

dreams before.” Her music fits her aesthetic perfectly, a retro, alt R&B stunner whose Instagram bio is just as powerful a statement as her beats: “Head bitch in charge.” Not one to step aside when there’s room under the spotlight, Tsunami is rolling through a predominantly male scene at full force.

Tsunami isn’t only aware of her worth, she reaffirms it. She’s deserving of a man that she “know[s] is clean for sure,” one that “will pay to see me touch my toes.” Her song rolls through seemingly innocuous wants to deeper, more emotional desires, pausing midway

for a plea to see her needs as they are.

“I know what I want” is the lyric that drives the song’s message home. A Maryland native, she’s found a style that perfectly matches the DMV’s music scene: underground, lo-fi and ultra-cool.

Tsunami’s newest single is not the girlpower anthem you’re used to. It’s the self-defining song of a woman in charge, come hell or high water.

For more information on Tsunami, visit linktr.ee/TommiTsunami or follow her on Instagram @tommithebody.

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ZAWADI CARROLL “Planet 26” Carroll’s “PLANET 26” is an emotional debut: Carroll’s first project as a vocalist and one that “reflects no longer being grounded in other people’s worldly definitions of success.” Carroll soft dropped the project on her birthday (February 26th) on SoundCloud, but the fully mixed and mastered version will be available on all streaming platforms come November 26th, exactly nine months later. The nine-month period between idea and fully formed EP feels deeply metaphorical to motherhood, especially when Carroll clarifies “PLANET 26” is meant to represent “being the creator and curator of my own life.” Carroll has spent her whole life up to this point working through a traditionalist’s view of success — straight A’s, graduating college with honors — and the birth of “PLANET 26” is her rebirth as an artist. Carroll’s vocals are solidly soulful, laid over R&B heavy beats. She transitions easily between singing and rapping throughout, showcasing her diversity as both a creator and vocalist. “PLANET 26” is highly collaborative and features a variety of producers brought in to amplify and hone the sounds of their respective tracks. Listening to this collective of creative energy, the phrase “it takes a village” rings especially true. Track five “MUVASHIP” is produced by Gaijin, and its spacey, extra-terrestrial feel reflects Carroll’s interstellar aspirations with lyrics like “D.C. is an oyster and I’m it’s pearl.” The track is where the album closes, with Carroll delivering smooth, self-loving vocals alongside producer ZOE’s rap, proclaiming belief in herself and her own abilities, above all. It’s a strong starter with even stronger sentiment behind it, and a much-anticipated full release.

Follow Carroll on Instagram @zawadicarroll.

PAGE 49. (L to R) Azure Wolf’s Isaac Foltz, Tommy Moore, Victoria Backle + Sean Spencer. Photo by TLR Fotografie. PAGE 50. Bartees Strange. Photo by Ashley Gellman. PAGE 51. (L to R) BRNDA’s Dave Lesser, Leah Gage, Mark McInerney + Nick Stavely. Photo courtesy of subject. Micah. Photo courtesy of subject. PAGE 52. (L to R) RDGLDGRN’s Marcus Parham, Andrei Busuioceanu + Pierre Desrosiers. Photo by Alisha Wallace Ciarra Photography. Scorpio. Photo courtesy of subject. PAGE 53. Sunstoney. Photo courtesy of subject. PAGE 54. Shaolinn.

Photo by Crystina Bond. PAGE 55. Tommi Tsunami. Photo courtesy of subject. PAGE 56. Zawadi Caroll. Photo courtesy of subject. PAGE 57 (CLOCKWISE FROM TOP). Artwork courtesy of respective artists.

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BACKSTAGE PASS

D.C. ARTISTS +

THE VENUES

THAT HELPED

SHAPE THEM INTERVIEWS COMPILED BY ERIN CLANCY + RIN RYAN PHOTOS BY KIMCHI PHOTOGRAPHY

From hardcore punk to go-go, the District’s independent music scene has always been lush. A myriad of identities, ideologies and sentiments, artists in the DMV are informed by their proximity to the nation’s capital.

With the help of independent venues giving a voice to up-and-coming and under-the-radar talent, artists like April + VISTA, BRNDA and Lightmare are making waves in D.C.’s unparalleled DIY scene. Concert photographer Mike Kim goes backstage with these artists and the venues most meaningful to them.

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April + VISTA Favorite venue Both: U Street Music Hall was our favorite music venue because we saw so many of our favorite acts there and were lucky enough to perform there pre-pandemic.

First concert April George: My first concert ever was Kid Cudi in 2009. My sister and I were first in line.

I’m showing my age here, ha!

Matt Thompson: When I was around 10 years old, my mom took me to a Creed concert. I heard “One Last Breath” live at Merriweather Post Pavilion and it was never the same.

Band motto Both: #1 in cable management Album you’d bring to a desert island AG: Probably a guided meditation tape so I can stay calm.

MT: I would bring Radiohead’s “In Rainbows,” but I don’t want to ruin my favorite album. I’m thinking Bear Grylls’ “How to Stay Alive: The Ultimate Survival Guide for Any Situation” would be way more practical in this situation.

Go-to fall activity Both: We’ve been getting into hiking at Great Falls lately, and that’s been the perfect fall escape for us so far.

Why Songbyrd?

Both: We’ve seen some of our favorite acts there and have even played shows on the old basement stage many moons ago. We’re so happy they’ve survived the pandemic and will continue to be not only a place for people to have fun and enjoy music, but also be a safe space for our local music scene to gather and thrive.

Check out April + VISTA’s most recent EP “Pit of My Dreams” and their concert film “Live From The Pit” on YouTube. Learn more at pitofmydreams.aprilandvista.com // @aprilandvista.

Songbyrd Music House: songbyrddc.com // @songbyrddc

L TO R. April + VISTA’s April George + Matthew Thompson.

LIVE MUSIC IS BACK

BRNDA Favorite venue Pretty much all venues in town try their best to be accommodating and supportive to bands, so it’s hard for us to pick a favorite. One thing we really miss is playing house shows. We hope those start to come back soon.

L TO R. BRNDA’s Leah Gage + Nick Stavely.

First concert Maybe seeing my dad play in his jazz band.

Band motto No covers, no love songs.

Album you’d bring to a desert island Probably a Brian Eno album, maybe “Ambient” one, two or four (not three) or “Discreet Music.”

Why Pie Shop?

Way back, maybe eight years ago, we practiced on the first floor where you could reserve practice rooms. We had some good times in those rooms, learning how to be a band. Lots of our friends are also

working there these days, and we also really appreciate a good vegan pie.

Check out BRNDA at their December 10 show at Lost City Books. Learn more at brendatheband.com // @brndatheband.

Pie Shop: pieshopdc.com // @pieshopdc

NOTE: Band members not pictured include Dave Lesser, Leah Gage, Mark McInerney + Nick Stavely.

Go-to fall activity Making hot food like soup or pretzels and sitting around a fire with some friends.

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LIGHTMARE Favorite venue All: That we’ve played: Black Cat. To attend shows: 9:30 Club.

Headlining the 9:30 Club has always been a big goal of ours.

First concert Mike Beckage: Backstreet Boys Matty Kirkland: The Beach Boys Vitamin Dee: They Might Be Giants Shady Rose: Muse Frankie Hellfire: No Doubt Yousef Karim: Karnivool Band motto All: Music from that one dream.

Album you’d bring to a desert island MB: Stevie Wonder: “Songs in the Key of Life” MK: Jimmy Buffet: “Boats, Beaches, Bars and Ballads” VD: Blonde Redhead: “Fake Can Be Just as Good” SR: Dirty Projectors: “Lamp Lit Prose” FH: Talking Heads: “Stop Making Sense” YK: Vangelis: “Blade Runner (Music from the Original Soundtrack)” Go-to fall activity All: A few of us are campers and we are planning a band camping trip/cabin retreat sometime this fall. We also enjoy apple picking and frolicking in the odd pumpkin patch.

L TO R. Lightmare’s Frankie Hellfire (x/x, bass) // Alice Mayne-Ashworth (she/her, guest artist on trumpet + french horn) // Matt Kirkland (he/him, saxophone) // Shady Rose (they/them, vocals) // Mike Beckage, a.k.a. “Beck” (he/him, guitar) // Yousef Karim (he/him, drums) // Vitamin Dee Chrystal (she/her, keyboard).

MUSIC

Why The Pocket?

All: The Pocket and 7DrumCity are both such great community spaces for the D.C. music scene.

Lightmare has spent countless hours at 7DrumCity writing and rehearsing, and it’s a space where we really got to know each other as musicians. Things like Flashband and the potluck jams they host at The Pocket are fun and tangible opportunities for local musicians to network and create with each other. We are so excited to be having our album release party there.

Check out Lightmare at their upcoming show on November 27 at DC9, and listen to their sophomore album “DIRT,” released October 29 on This Could Go Boom! Learn more at lightmaredc.com // @lightmare.dc.

The Pocket: thepocketdc.com // @thepocket_dc

DISTRICT FRAY | 63

LIVE MUSIC IS BACK

BOUNCE BEAT

+ BEYOND

An inside look at the next wave of go-go and its cultural impact on the District WORDS BY MALIIK OBEE | EDITED BY ANDREW J. WILLIAMS III On a mid-October evening, the traffic along New York Avenue is at a slow creep, with honking horns nearly drowning out the songs trumpeting from open car windows.

Many are attempting to find parking near Aqua Restaurant and Bar, the Friday night home of Backyard Band (or BYB to the initiated), one of D.C.’s most successful and illustrious go-go bands. On this particular night, BYB is joined by The Reaction Band, a headliner in their own right. Across the Maryland border in Temple Hills, the self-titled “Half-Band, Half-Amazing” New Impressionz is headlining their own show. And at Firehouse 1 in Silver Spring, two of the biggest go-go bands, Total Control Band (TCB) and Takeova Band (TOB), are sharing the stage.

A decade ago, this would be the rarest of nights for go-go in the D.C. area, when many of the aforementioned bands were adapting to the rapid shuttering of music venues. Today, gogo is in a much better space — though such a statement still sells this moment short.

The keepers of the go-go culture are nothing if not resilient.

They’ve continually reinvented ways to stay relevant as the local 64 | NOVEMBER 2021

music scene — and demographics — shift. Today, the genre is reasserting itself into the District’s bloodstream. And we, the allies championing its cause, know it can be so much more.

Though, evolving often requires a catalyst.

In April 2019, the Metro PCS store on Florida Avenue began receiving complaints about the volume of their go-go music from an adjacent affluent complex. The matter fractured the delicate harmony among neighbors at the nexus of Shaw and the U Street Corridor — and within the go-go community.

Tenured community activist and author Ron Moten of Don’t Mute D.C., a local collective of cultural activists, called for action. He enlisted bands and advocacy organizations to push back by partnering with Moechella and Long Live GoGo, a combined advocacy festival and movement pairing go-go with political and social initiatives.

Don’t Mute D.C. and Moechella/Long Live GoGo went from shutting down the intersection of 14th and U Streets with bands like TCB and TOB to creating a prominent platform for go-go. Over the last three years, their efforts have galvanized a growing movement of organizations and individuals.

Angela Byrd of MadeInTheDMV. Photo courtesy of subject.

MUSIC Local comedian Mckenton Russell recalls Long Live GoGo’s breakout moment during the summer of 2020. The festival decided to introduce its series of purpose-driven go-go events in Los Angeles to the Leimert Park area, the home base for Black sitcoms like “Moesha” and “South Central.”

“Moechella in L.A. was lit,” Russell says. “From what I see, more people from all over were starting to f--k with it. Even my L.A. friends were f--king with it. That shit was a vibe. Shoutout to them for that.”

Russell uses his comedy as a driving force to introduce go-go culture to his audience, making them laugh with remixes and skits influenced by the genre. Like many go-go fans under the age of 40, Mckenton’s favorite band is TCB. The band took the DMV by storm in 2002 with the now-named bounce beat sound, a timbaleheavy contrast to the pockets, sockets and breakdowns go-go fans already know and love.

“Go-go is the band, the bounce beat is the drumline and TCB is Devon [from the cult-favorite coming-of-age marching band film “Drumline”],” Mckenton says.

He compares the movie’s stoic band director, Dr. James Lee, to tenured members of the go-go community who haven’t embraced the new generation’s contributions to the culture.

“Dr. Lee is any old head opposed [to change],” Russell says.

Go-Go’s Digital Renaissance

In the past, go-go lovers sold cassette tapes to retailers like the renowned P.A. Palace. Prior to that, fans would dub rerecorded copies for their friends. Websites with digital recordings came and went in the early 2000s.

Legends like Sugar Bear, Experience Unlimited and Junkyard Band got a taste of distribution on major record labels. Others like Critical Condition Band (CCB) and XIB took a more independent approach to selling their studio albums through retailers. Gogo sent shockwaves through the community when CCB’s 2007 “Diversity” studio album was available in stores like Best Buy. Live go-go is the true draw of recorded go-go. It’s an unmatched, visceral experience, difficult to manufacture in a recording studio.

“Live recording is a major element in go-go because those CDs last a lifetime,” says go-go fanatic and photographer Johnnel Kyri, who goes by the alias VividDope.

His photography credits include Wale, Ari Lennox and Method Man, among other acclaimed artists.

“People definitely want to listen to those shows they attend to relive that moment [and] that energy.”

There are many variables to a band having a cohesive sound — from the members being present to everything being in sync. This makes for a resonant performance, otherwise known as cranking.

For the crowd, someone getting a shoutout adds a unique, spontaneous element. Hearing people’s names — and places and events — on a live CD holds special significance, immortal even.

In go-go culture, people tend to have more personal relationships with the crowd than the average band or artist.

Dates and albums in go-go can be as rare as a Michael Jordan rookie card in mint condition. Somewhere in an attic is a Backyard Band tape from ‘95, or a Raw Image show from 2002 no one even remembers being recorded.

But with the emergence of platforms like Apple Music, Spotify and Tidal, bands have an opportunity to not only gain new listeners and reconnect with the old ones, but to cash in.

“We’re getting an influx of go-go streaming from a lot of bands,” says Angela Byrd, a lifelong go-go fan. “Black Bo done uploaded

damn near the whole TCB catalog on streaming. I listen to ‘Twerk 4 Me’ by UCB every day now on Spotify.”

Byrd shares that downloading “Da Mad Chef,” a Spotify playlist dedicated to the former venue of the same name, introduced her to Still Familiar band. The playlist was curated by Glenarden, Maryland native and nationally recognized DJ Dominique Wells, better known as DOMO, another stalwart of the go-go community. This led Byrd to book the band for Art All Night, an annual D.C. arts and culture festival.

Byrd is the creator of MadeInTheDMV, an annual conference focused on bridging the gap between creatives in various fields across the DMV and providing resources to showcase the region’s vast talent. The Elizabeth City State University graduate is also a former writer for AllHipHop and The Source, who maintains a steady pulse on D.C.’s potential as a music stronghold.

“I think the state of go-go is great, depending on what your expectations are for it,” Byrd says. “Our venues in the area need to be more open to working with bands. In the next five years, I think we’ll have more people experimenting with the sound, [including] more producers. Some people look at it as a nostalgic genre. We love the pocket and bounce beat and all that, but the youth might not think it’s all that. [But] we are in a far better [place] in terms of support, from the local venues to the government.”

Byrd is referencing D.C. Mayor Muriel Bowser signing an official bill proclaiming go-go as the city’s official music on February 19, 2020. She also acknowledges that musicians in the go-go community must move beyond their silos to embrace more cross-genre ingenuity and a “rise together” vantage point.

“We need more go-go bands to [perform] our local artists’ music,” Byrd adds. “Take No Savage’s ‘Mood Switch,’ for instance: That’s the hottest song out right now. Why is every band not competing to see who can cover it the best?”

She cites producers like Tone P and Roger Beat transitioning from making keyboard beats for bands to hits for chart-topping rappers. But her biggest concern is making sure the youth love gogo as much as our elders.

“If we put the instruments in front of [them], they may create,” she says. “But if the youth aren’t in this, go-go may die.”

Byrd and many others in go-go culture are doing their best to aid the change they want to see.

Taimak “Teej Da Smooth Dude” Dargan started small before pivoting to throwing his own shows, implementing fresh ideas for parties and promoting new bands and rappers. He penned his story for his 2020 autobiography “The Prince of DC: A GoGo Tale.” While he’s optimistic for the future, his current issue with the state of go-go is the lack of visibility and marketing.

“People don’t understand that New Impressionz has the best party in the city,” Dargan says. “It’s in Virginia [and] better than Rosebar [a popular destination for go-go enthusiasts in Northwest D.C.],” says Dargan. “We’ve got to change the visuals of go-go. Everything is visual now, and content-driven. We need go-go bands to do more music videos, live recordings, etc.”

Dargan hopes to see go-go keep up with other genres in terms of promotion.

“Go-go still runs the city, but even when you check our local blogs, you see local rapper after local rapper,” Dargan says. “There needs to be a balance. There are plenty of bands on streaming sites. We just have to do better in promoting [them].”

Frontrunners like ABM, XIB and Tru Expressionz have greatest hits albums on streaming platforms, along with new music.

DISTRICT FRAY | 65

LIVE MUSIC IS BACK

Bands like TCB, TOB, High Quality and others have capitalized on mediums like Soundcloud, Spinrilla and Apple Music.

Though, that doesn’t mean they’re abandoning the organic forms of growth that sustained the genre in its heyday, especially with the resurgence of vinyl.

Traditionally, locals to Black colleges and the armed services helped go-go spread, disseminating the music via tapes, CDs, etc. DJs at Black colleges — from Morgan State in Baltimore to Morehouse in Atlanta — spun the latest crank for students at parties and on campus.

Bequeathing “The Crank” to Future Generations

Virginia State University graduate Malik Jarrett came up clubbing in venues like the now defunct Market Lounge and repurposed DC Tunnel, now Echostage. Jarrett is the creator of EAT Clothing, one of the biggest go-go clothing lines to come out of the area. When he isn’t giving back as a coach for Beacon House Falcons Club in Edgewood, he’s spinning classic go-go at some of the city’s hottest clubs.

“I was just thinking my kids might not be able to have a go-go band at their wedding because there might not be any around,” Jarrett says. “Most go-go bands have been out for a while now. We need new ones, new sounds.”

Still, like Byrd, he remains optimistic.

“We have to get the youth involved in go-go [and] more programs [geared around go-go music] in schools. They have to love it, too.”

Many of go-go music’s leading stars are trying to do just that, led by its biggest star.

Anwan “Big G” Glover is the frontman for Uptown’s renowned Backyard Band and an actor who portrayed gang member Slim Charles in HBO’s “The Wire.” You can catch him via his Instagram, shuffling between promoting shows or commuting cross-country for acting gigs. But he’s also a grandfather gearing up to celebrate his 51st birthday.

“Big G, to me, is what Chuck Brown meant to the older generation who watched go-go come about and evolve,” Kyri says. “G is still one of the biggest figures we have in the DMV. G is still doing it. Backyard is still doing it: inspiring [people] since the early 1990s. Even members of bands call G ‘Pops.’

That [shows] you how much respect G has [within] the culture.”

It’s common to see fathers and sons at Marygolds for Rare Essence, or mothers and daughters at Fast Eddie’s for Backyard. But while many go-go bands keep performing without considering retirement, thought must be given to how the sound will be presented to the next generation to ensure they continue the love of go-go.

“One of my first memories of go-go was going to see Rare Essence with my dad as a kid,” Dargan reminisces. “It was a crazy, legendary moment.”

A decade ago, go-go bands were still formed in middle and high schools, usually beginning with members of the school band. Public school marching bands at local schools like Ballou, Parkdale, Cardozo and Eastern created just as many gogo stars as percussionists or woodwinds players.

Fast forward to present day, where many schools are struggling to keep students engaged in a remote learning environment. Running music programs is increasingly challenging — as is enlisting go-go legends to work with youth.

It may take time and patience as go-go continues to reinvent itself in new spaces.

66 | NOVEMBER 2021

Making Moves

Recent developments show that go-go culture is digging in on guarding its throne atop the region’s music landscape — and mastering the art of sustaining buzz around the genre.

“It’s cool to go to spots like the Fillmore [and] have a chicken and mumbo sauce event and a band like Reaction on the same stage as [D.C.] rapper Yung Gleesh,” Kyri says. “Gleesh came from go-go [and] TOB, and now he’s doing the rap thing on a national scale. To bridge those gaps and tie it in with chicken and mumbo sauce — a carryout staple — and the music of the area right now is amazing.”

Go-go is increasingly becoming recognized and celebrated on a regional scale. On September 11, CCB performed with the Mighty Sound of Maryland Marching Band at the halftime show for Maryland vs. Howard. Groups like the Afro-Latinbased Adobo have introduced go-go to new listeners of all races and social classes through parties and socials.

Events like Crank Karaoke allow anyone to get up onstage with a full band, composed of an all-star crew playing the song of your choice. The Washington Football Team unveiled their beat ya feet dance team this season, bringing the iconic dance innovated by the late Marvin “Slush” Taylor of Anacostia to the NFL. Multi-platinum rapper and devout Washington Football Team fan Wale has managed to integrate go-go in some fashion in every album he’s released. He’s even taken it to new heights on his recent release “Folarin 2,” enlisting Backyard’s legendary congo/timbale player Sauce for a song with Boyz II Men. TOB frontman and go-go prodigy Lil Chris croons on “Jump In,” which may be the best representation of go-go to hit mainstream airwaves in years.

“We got Backyard covering Adele’s “Hello,” and you got Uncle Snoop Dogg working with Rare Essence,” Byrd says.

“It’s a good time for artists working with our bands and loving our culture.”

There’s an influx of go-go out there, but the genre needs to be brought to the forefront. Today, there are triple the number of social platforms dedicated to DMV rap as there are go-go.

This speaks again to the exposure imbalance and lack of an organized anthology.

“I’ve lost so much go-go just between switching laptops or moving,” Kyri says. “We have to have a museum we can go to and commemorate every band, listen to music [and] recapture moments in our history.”

In the summer of 2020, there were several free go-gos throughout the city, filled with young men and women sweating from their commutes on trains, buses, rideshare bikes and scooters. From Moechella on 14th Street to TCB and TOB on a caravan through the Southside cranking for peace, the youth partied and participated. Regardless of the particulars of what’s wrong or could be better about go-go, this is a great sign for the future. Now is the time to build on it.

To learn more about some of the luminaries of the go-go scene, visit their websites or follow them on Instagram: Malik Jarrett at allhomage.com // @allhomage; VividDope at vividdope.com // @vividope; Big G at @anwanglover; and DOMO at domo.world // @djxdomo. For more on the featured organizations at the forefront of the go-go movement, visit their websites or follow them on Instagram: MadeInTheDMV at madeinthedmv.com // @madeinthedmv; Long Live GoGo at longlivegogo.com // @longlivegogodc; and Don’t Mute DC at dontmutedc.com // @dontmutedc.

CULTURE

“ONCE UPON A —

ONE MORE TIME” Brings Feminism Center Stage

The Britney Spears-inspired production makes its world premiere November 30 at Shakespeare Theatre Company.

WORDS BY KRISTEN SCHOTT Ask Shakespeare Theatre Company’s (STC) Artistic Director Simon Godwin if he’s a fan of Britney Spears, and he’ll say yes — we all are. Not in the traditional sense of late ’90s teeny boppers screaming along to her songs in the front row, but on a level similar to Shakespeare himself.

“What’s interesting about Britney Spears is we’re all fans, even if we don’t realize it,” Godwin says. “Similar to Shakespeare, her influence is deep within us. People can always quote ‘To be or not to be.’ When you hear Britney’s music, you can’t help but recognize it.”

Britney’s pop tunes will take center stage November 30 to January 2 at Shakespeare Theatre’s Sidney Harman Hall with the world premiere of “Once Upon a One More Time” by writer and actor Jon Hartmere. The first production of Shakespeare’s 2021-2022 season, the Spears-inspired musical turns the idea of a fairytale princess on its proverbial glass slipper.

“Once Upon a One More Time” follows female protagonists including Cinderella, Sleeping Beauty, the Little Mermaid and Rapunzel who, at their book club meeting, are introduced to “The Feminine Mystique”— an eye-opening tome delivered by one sharp fairy godmother.

“We travel with the characters as they discover their stories can be rewritten,” Godwin notes. “They feel trapped in their own narratives and discover a way out.”

The production’s concept was Spears’ idea, one many years in the making. The show was originally set to launch in Chicago in 2020 but was canceled due to the pandemic. Yet it’s particularly prescient now, considering Spears’ widely publicized conservatorship struggle which draws parallels to the princesses’ realization of independence.

“Society is interested in metamorphosis,” Godwin says. “In the original fairytales, female characters were passive. They were not given the same agency as males. ‘One More Time’ represents those stories in a way that celebrates female agency.”

Consider the production’s soundtrack. Aside from the obvious title song, you’ll hear “Stronger,” “Oops!... I Did It Again,” “Toxic” and “Lucky,” the latter about a young starlet considering what her life could be out of the spotlight.

“Britney is very much in the show,” Godwin says. “You feel an amazing dialogue with her — her legacy of music, art and personality.”

The production also presents a form of meaningful escapism (with a large helping of humor) at a time when people are 68 | OCTOBER 2021

reevaluating their own journeys.

“It’s an empowering, entertaining and euphoric story,” Godwin says. “The experience is joyous and I think it verges on a party. Theatre that does that right now is extremely valuable.”

Directed and choreographed by Drama Desk-nominated husband and wife team Keone and Mari Madrid, the musical has lyrical staging and movement.

“Much of the work is about creating flow and shapes,” Godwin says. “Keone and Mari Madrid are interested in creating something with uninterrupted narrative and momentum. It’s a heightened physical piece of theatre.”

A sense of unity is present from start to finish, creating seamless accounts of the characters. Briga Heelan plays Cinderella and Justin Guarini (of “American Idol” fame) stars as Prince Charming. “[Justin] is an exciting embodiment of wit and depth,” Godwin says. “He has an incredible singing voice and I really enjoy his mastery of style: It’s heightened but still true.”

There’s Tony winner John Glover (of “Love! Valour!

Compassion!”) as the narrator, Aisha Jackson as Snow White and Brooke Dillman as the Original Fairy Godmother (O.F.G.).

Tony nominee Emily Skinner, Mimi Scardulla and Tess Soltau play the Stepmother and Stepsisters, respectively.

“I find their comic timing, heartfulness and charisma very appealing and enticing,” Godwin says.

“Once Upon a One More Time” is a key play for STC’s mission.

“When I took the job in late 2019, I was passionate about creating a holiday musical for families,” says Godwin, whose resume includes working at Royal Shakespeare Co. and National Theatre of London. “I was keen to attract new and younger audiences and [focused on the idea that] we weren’t just Shakespeare. We are broader — a theater that takes old stories and discovers audacious ways of producing them.”

And that’s just what “Once Upon a One More Time” achieves.

“It’s extraordinary and new, and yet somehow deeply resonant,” Godwin reflects. “We’ll be sharing a dream together that’s at once familiar and strange.”

“Once Upon a One More Time” runs from November 30 to January 2. Learn more and buy tickets at shakespearetheatre.org.

Shakespeare Theatre Company’s Sidney Harman Hall: 601 F St. NW, DC; 202-547-1122; shakespearetheatre.org // @shakespeareindc “Once Upon a One More Time” production artwork courtesy of STC.

LIFE

A GLIMPSE INTO “FUTURES” Smithsonian’s highly anticipated Arts + Industries Building exhibit opens November 20 with a weekend of celebration.

WORDS BY COURTNEY SEXTON

LIFE The Smithsonian Institution has been a bastion of groundbreaking research, world-changing innovation and awe-inspiring art for 175 years. This history is precisely what makes Smithsonian an obvious venue to speculate on the future.

Beginning this November, the iconic Smithsonian Arts + Industries Building (AIB) will temporarily re-open to host a radical exhibition that peers into the realm of what could be.

Described as part exhibition, part festival, the AIB is transforming into 32,000 square feet of new site-specific installations which include uniquely commissioned art, design works and films, as well as pieces from the collections of 23 Smithsonian museums, centers and initiatives.

Visitors will come face-to-face with nearly 150 oneof-a-kind objects, including a Loon internet balloon, an AI-driven rover and a Planetary Society space sail for deep space travel.

But relics of futures’ past is only one element of “FUTURES,” which endeavors to be art, science and technology in action and conversation. “FUTURES” also invites people to bring and share their own experiences, thoughts and hopes — and to help the exhibition continue to evolve throughout its run.

Curator Ashley Molese says by encouraging such engagement, she acknowledges “FUTURES” asks a lot of visitors. She points to the Bakelizer, a steam pressure vessel used by chemist-entrepreneur Leo Hendrik, as just one example of technology she hopes will spark conversations and new ideas.

“We’re connecting to the legacy of this building and wanted to foreground some moments in history from the Smithsonian’s own collection,” Molese says. “Because we also know you really can’t understand your future until you understand your past — and we’ve had some missteps.”

In the center hall, light artist Suchi Reddy’s massive, pulsing, machine-learning AI installation “me + you” is the hub that “speaks to our imperative as humans to envision our relationship with technology as a positive dialogue.” A 360-degree experience, “me + you” is both conceptual light art and a generative time-based media piece that will evolve as visitors engage and whisper their deepest thoughts into any one of its hundreds of microphones.

“FUTURES” spreads illuminated tentacles across the AIB, with each hall hosting a unique environment: Past Futures, Futures that Inspire, Futures that Unite and Futures that Work. In some cases, as with a living garden, the environment will literally grow and change over the course of the exhibition. In others, augmented reality offers a different vision of the future, such as in Tamiko Thiel’s ReWildAR, which explores how D.C. can be rewilded to create a thriving, sustainable environment for nature. And in yet another feature, visitors are presented with research on the possibilities of same-sex reproduction.

“FUTURES” is a carefully woven crescendo of curatorial and intellectual ambition that begs the public to pull on its strings and imagine a tapestry we can’t yet see. Fittingly, Smithsonian is planning a multifaceted celebration for the exhibition’s opening weekend, including live music performances, celebrity Q&As, a call-and-response concert, a world premiere tour with Bill Nye, a roundtable 70 | NOVEMBER 2021

“The future of conservation and advocacy looks like one built on radical inclusivity, acts of allyship for diversity in all its forms, and a deep connection to nature and to each other.” of “Unexpected Conversations” with preeminent innovators and inventors, and more.

Among those who will be “in conversation” during the opening festivities is queer environmentalist drag queen Pattie Gonia, who has used her growing fame to spread a more inclusive vision of environmental advocacy.

“The future of conservation and advocacy looks like one built on radical inclusivity, acts of allyship for diversity in all its forms, and a deep connection to nature and to each other,” Gonia says.

D.C.-based drummer and America’s Got Talent semi-finalist Malik DOPE (Malik Stewart) will perform during the opening weekend’s free indoor/outdoor “concert turned sonic exploration,” along with D.C. pop trio SHAED. “I see the future of the arts in D.C. taking off in multiple ways,” Stewart says, “[and I] not only get to witness the future of the Smithsonian but I get to help usher it in, as well.”

Stewart, who grew up in the District and recalls field trips to the Smithsonian during his youth, is a performer who brings a unique perspective to the “FUTURES” festival.

“Percussion is one of the first instruments of communication,” he says. “The beat of life won’t stop and will be here for millions of years to come because everything moves to a rhythm — and always will.”

“FUTURES” exhibition opens November 20 and will remain on view at the Smithsonian’s AIB through July 2022. AIB will also host “FUTURES on the Move” teaser events with other local luminaries like Erik Bruner-Yang and Trap Bob throughout the city during the month of November leading up to the exhibition. For more information, visit aib.si.edu.

Smithsonian Arts + Industries Building: 900 Jefferson Dr. SW, DC; 202-633-1000; aib.si.edu // @smithsonianaib Suchi Reddy’s “me + you.” Photo courtesy of Smithsonian Institution.

LIFE

38 | APRIL 2021

LIFE

From

Emergent

to Seed Artists in Bloom WORDS BY AMANDA WEISBROD

The performing arts sector was among the hardest hit by Covid-19. While federal grants and aid for creatives immediately began popping up, one D.C. organization focused its efforts on helping performing artists in its own neighborhood.

Enter: Emergent Seed.

The grantmaking organization was founded to help alleviate some of the financial burden placed on performing artists due to the nationwide Covid shutdowns.

It’s no accident its name sounds like “emergency.” Founder Adrianna Smith says the organization’s alias holds double meaning: It’s both a nod to the pandemic emergency and symbolizes the organization’s mission to support emerging artists through seed funding.

Emergent Seed grants range from $150 to $500. The $500 winners also receive a recording session in a professional music studio and are paired up with an expert in their field for a three year mentorship.

To apply, an artist’s work must fall under one of Emergent Seed’s four creative categories and nine sub-categories. They must also meet the following criteria: reside in the D.C. metro area, be 18 years or older and classify as an emerging artist (unpublished and not currently signed to a record deal).

Applicants must submit original work and a five minute video.

Smith says she remembers the moment the idea for Emergent Seed was planted in her mind back in March 2020. During a conversation with her father, who is also extremely involved in the local arts scene, the two brainstormed ways to support local artists.

“When Covid hit, I couldn’t stop thinking about how debilitated the performing arts sector was,” she says.

Only a month after her initial idea, Smith’s vision was fully realized.

The founder says her past experience running open mics around the city was a huge reason why she got the organization up and running so quickly. Since its first round of grants in July 2020, Emergent Seed has given out more than $20,000 to D.C. performing artists.

72 | NOVEMBER 2021

One of Emergent Seed’s latest winners is Anthony (Tony) Ricardo Keith Jr., PhD, a self-titled educational emcee who specializes in spoken word and hip-hop educational leadership.

The spoken word poet coined the ed emcee title while conducting research for his dissertation, which focuses on how spoken word poetry functions in hip-hop educational leaders’ lives — and how they can engage Black and brown youth.

Keith says the real boons from his $500 grant was the opportunity to record his poetry in a professional music studio.

And the affirmation his creative work is valid and important.

“I’m glad we’re in a moment when so many of us [spokenword artists and poets] are winning awards and grants,” he says. “We’re finally being recognized for our work. Emergent Seed is affirming the fact that we are worthy, we are emerging.”

Keith was one of Emergent Seed’s winners to perform at the winning artists’ showcase on October 24, held at the rooftop bar/venue Wild Days. The event premiered original music and spoken word by Emergent Seed artists, complete with a jam session and open mic. Smith says about 200 people joined over the course of the evening — a testament to Emergent Seed’s mission of building a creative community.

Emergent Seed also helped propel Neffy, NPR’s 2021 Tiny Desk Contest winner. She says the up-and-coming artist’s first-ever grant came from Emergent Seed, which gave her the confidence to apply for additional funding and eventually submit her work to the Tiny Desk Contest.

“I celebrate her win as a win for the region,” Smith says.

In the short-term, Emergent Seed will continue to award grants and adapt to the needs of D.C.’s creative scene. In the long-term, its goal remains the same: to help foster a catalog of local creatives and build a community based on a common passion for the arts.

Learn more about Emergent Seed at emergentseed.org and follow them on Instagram @emergent_seed. Check out Keith Jr. at tonykeithjr.com and follow him on Instagram @tonykeithjr.

Emergent Seed showcase on October 24 at Wild Days Rooftop at Eaton Hotel. Photos courtesy of organization.

DISTRICT FRAY | 73

PLAY

WORDS BY ABI NEWHOUSE

Writer, professor and avid D.C. runner Kyoko Mori often touches on the concept of being “apart from, but also a part of” a city in her writing. In one moment, residents are separated from the city, alone in their apartments. In another, they’re part of society, visiting a restaurant or event — or hiking one of D.C.’s beautiful trails.

“Everywhere we go I find these trails I didn’t even know existed,” Inner Loop Co-founder Rachel Coonce says. “To me, having nature and quietude and being able to get away without having to drive is very recharging.”

Coonce loves to take advantage of the different trails around her place for biking and hiking. She rides the Metropolitan Trail to get to work, and the Anacostia River Trail to get home.

We all know many of the more famous trails in the city: the C&O Canal Trail, the Rock Creek Trail, the Capital Crescent Trail — but smaller trails branch out from the bigger ones, in a giant web with continuous possibilities.

For Shelby Hall, one of District Running Collective’s captains, Kingman Island is a favorite lesser-known trail. Hall loves running by water, so she discovered the island by crossing the Benning Road bridge. Smaller bridges connect Kingman Island (also known as Burnham Barrier) and Heritage Island, giving runners and hikers a few different places to explore.

“So much is hidden back there,” Hall says. “I didn’t know about it before last year’s District 19.”

District 19 is a 19K and 5K race hosted by the District Running Collective to honor those affected by police violence and the pandemic. The race starts in Kenilworth, then winds through the District on the Anacostia Riverwalk Trail, crossing over into Eastern D.C. It gives runners a chance to get to know District trails while considering the area’s past, present and future. Hall is all about bringing people together, which is especially helpful in a city full of transient residents.

“As a woman, I find it my mission to make sure the new women show up,” Hall says. “I want to make sure they want to come back again.”

Hall has inspired women of all ages — from helping her eight and 10-year-old nieces train for smaller races, to landing a role with the NBA as one of the first women of color in her field.

“It’s hard to break barriers,” she says. “ I want to make it easier for the people behind me.”

For women in a city, there’s this added pressure when reclaiming wild spaces, let alone any space. The women I interviewed described themselves as cautious, but unafraid. They each had their own safety techniques: sharing their location with friends, only running when the sun is out, and even filming their bike rides.

Ultimately, they did not let their worries define them. There’s too much life to live.

“Control the controllables,” Hall says.

To Anne Hyman, president of Potomac Pedalers, D.C. feels safer than any other city she’s lived in. Even when in the middle of the park, alone on the trail, there is still knowledge that civilization is close by. To Hyman, there isn’t a sense of misogyny in this area.

She loves to ride on the gravel of the C&O Canal Trail, as well as run down the Capital Crescent Trail, especially as she’s been training for the Iron Man in Sacramento, California.

“D.C. just has an energy I can absorb on important training days,” Hyman says. “Every time I’m in D.C. riding or running, I find something that connects me to the context of where we are.”

After winding down trails through the city and the National Mall, her most recent training run ended looking over the Covid memorial near the Washington Monument, putting in perspective just how part of the city she truly is.

Normanstone Trail. Photo by Abi Newhouse.

DISTRICT FRAY | 75

PLAY Running and biking in a group allows for this shared experience in a time that can still feel separate.

“I love the camaraderie on the trails,” Hyman says. “The trails around D.C. are my retreat from the hustle and bustle of everyday life. Everyone is out there enjoying their experience.”

For Monica Morin, a Washington Area Bicyclist Association (WABA) instructor, the threat to this sense of community is simple: cars. When she first got a job near Georgetown, it didn’t include parking, which led her to pick up biking and eventually donate her car. Now she works with WABA and Friends of the Mt. Vernon Trail to conserve different trails and advocate for safer routes for biking and hiking around D.C. “When I used to live on the Custis Trail, I would ride it three or four times a day, so I really got to know my neighbors,” Morin says.

“They become your community. A lot of people are nostalgic for college, because all of your friends live nearby and it’s walkable.

When you’re not in a car, you can recreate that community.”

Morin’s favorite trail is the W&OD. Her secret to the route is taking her bike on the metro, getting off at Reston, and then riding the trail back into D.C. Even better, along the way, there are great restaurants and breweries you can stop over to visit.

“There’s nothing better than being on a two-hour bike ride, just enjoying the Arlington Loop or the W&OD,” she adds.

As for her favorite lesser-known trails, Morin lives in the Palisades and says the hiking is fantastic.

Whether you’re alone or with a group, D.C. trails have so much to offer. Get away from noise pollution on a hike in the depths of Rock Creek Park, or bike along the waterfront near the Wharf or the Kennedy Center. Enjoy the history and context D.C. provides to its residents.

“On a daily basis you need to connect with nature, even if you love city life,” Coonce says. “It’s grounding for humans.”

OFF THE BEATEN PATH

little getaway. Van Ness St. and 44th Place in NW, DC; hikingproject.com/trail/7007064/glover-archbold-trail Kingman and Heritage Islands Bordered by the Anacostia and Kingman Lake, this island hosts beautiful trails and fascinating wildlife. 575 Oklahoma Ave. NW, DC; kingmanisland.com Melvin C Hazen Trail In the Cleveland Park area, this trail is Rock Creek Park at its finest: woods, water and wildlife. Melvin C Hazen Park in NW, DC; hikingproject.com/trail/7063400/melvin-c-hazen-trail Metropolitan Branch Trail Perfect for commuting and enjoyment alike, this trail runs from Silver Spring to Union Station. 7726 Fenton St. Silver Spring, MD; traillink.com/trail/metropolitan-branch-trail/ Mt. Vernon Trail At about 18 miles, this trail connects Theodore Roosevelt Island and George Washington’s Estate in Mt. Vernon. US 29 and George Washington Memorial Pkwy. Arlington, VA; traillink.com/trail/mount-vernon-trail/ Palisades Trolley Trail This lesser-known two-mile trail used to connect an amusement park with Georgetown. Sherier Place in NW, DC; runwashington.com/2019/03/27/the-palisades-trolley-trail/ Soapstone Valley Trail You’ll cross the creek several times on this trail, offering the perfect sights and sounds — as long as you’ve got the right shoes. 2900 Audubon Terrace in NW, DC; hikingproject.com/trail/7014271/soapstone-valley-foot-trail

Want to get outdoors without bumping into a ton of people?

Check out our list of top off-the-beaten-path trails in the DMV. From Navy Yard to Bethesda, these tucked away spots offer the chance to relax, recharge and reconnect.

W&OD Trail This sprawling trail runs from Shirlington, Virginia, to Purcellville, Virginia, and passes many restaurants and breweries, making for a day full of exercise and good food and drink. Washington and Old Dominion Trail in Arlington, VA; wodfriends.org

Anacostia Riverwalk Trail Serving beautiful river views, this trail runs through Navy Yard and up both sides of the Anacostia. Along Anacostia Riverfront in SE, DC; capitolriverfront.org/go/anacostia-riverwalk-trail

Wesley Height Trail This trail connects to the Battery Kemble Trail in one of D.C.’s many “choose your own adventure” trail offerings. Edmunds and 44th Streets in NW, DC

Battery Kemble Trail This trail houses Civil War history: As you hike, you’ll be able to see old parapet and gun positions. 3035 Chain Bridge Rd. NW, DC; nps.gov/places/battery-kemble.htm

Whitehaven Trail A baby trail between the Trader Joe’s and Dumbarton Oaks, Whitehaven Trail connects you to whichever part of the city you’re in the mood for. Whitehaven Street in NW, DC

C&O Canal Trail Clocking in at 184.5 miles, the C&O Canal Trail can be used for bike camping at many of the campsites housed along the trail.

Chesapeake and Ohio Canal Towpath in NW, DC; nps.gov/choh/index.htm

District Running Collective: 733 11th St. NE, DC; districtrunningcollective.com // @districtrunningcollective

Capital Crescent Trail Built on the former B&O railroad, this trail stretches from Georgetown to Bethesda and is a mixture of pavement and gravel. 3500 Water St. NW, DC; cctrail.org Glover Archbold Trail This trail is perfect for a last minute trip. It’s easily accessible by public transportation at both trail ends, giving you a convenient 76 | NOVEMBER 2021

Friends of the Mt. Vernon Trail: mountvernontrail.org // @mountvernontrail Potomac Pedalers: 21030-G Frederick Rd. #333, Germantown, MD; potomacpedalers.org // @potomacpedalers Washington Area Bicyclist Association: 2599 Ontario Rd. NW, DC; waba.org // @wabadc

CLOCKWISE FROM TOP. Monica Morin. Photo by Joe Flood. Rachel Coonce + Shelby Hall. Photos courtesy of subject.

DISTRICT FRAY | 77

FUN | CROSSWORD

LIVE MUSIC IS BACK COMPILED BY ZOE PIERCE + STEFAN LIZARZABURU Go-go became the District’s official music as of 2020, but it’s been the funktastic heartbeat of the capital city since it came on the scene in the ‘70s. This crossword traces the origins and history of go-go’s iconic sound. And as D.C. has evolved, so too has its eclectic music scene. Down and across this grid are the people, places, instruments and more which create the District’s living musical anthology.

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ACROSS 6. A national park — for the performing arts (2 words)

25. R&B superstar, who collaborated with Drake and Tyler, the Creator in 2021 (2 words)

8. Popular punk venue whose beloved Red Room closed in 2018 (2 words)

26. Famous go-go band with known hits like “Pump Me Up” and “Let’s Get Small” (2 words)

9. A free music streaming platform where a sizeable chunk of DMV rappers have gotten their start

28. DMV rapper behind the anthemic song “Crew,” featuring Brent Faiyaz and Shy Glizzy

10. Music venue at 7DrumCity (2 words)

29. Handheld brass instrument with three or four valves/buttons

13. A rapper who once told National Music Express she resonates with being a pop-punk princess; she has collaborated with the likes of Doja Cat, Aminé and more (2 words) 14. One of the first music venues in the U.S. specifically catered to Black artists (2 words) 17. The name of Chuck Brown’s famous band (2 words) 19. American trumpet player in the D.C. go-go scene as part of Rare Essence, notably buried in a light blue casket (2 words) 20. One of Chuck Brown’s most popular tracks, including his own name (2 words)

32. Live music venue located at The Wharf (3 words) 33. Go-go band who got their start as children, using objects they could find around their neighborhood — pots, bottles, hubcaps, etc.

36. Part of a drum set that can open and close 37. A self-proclaimed blues bar and soul food restaurant named after a single-letter rearrangement of a D.C. neighborhood (2 words) 41. The famous punk record label, housing bands such as State of Alert and Minor Threat (2 words)

22. A basement bar near Farragut Square where Gregory “Sugar Bear” Elliot played (3 words)

42. One of the District’s most famous natives, lovingly known as the “Prince of Motown” and creator of one of the most critically acclaimed albums of all time: “What’s Going On” (2 words)

24. A famous Arlington recording studio, which closed in October and played an important role in D.C.’s harcore scene (3 words)

45. Renowned locally-based R&B singer who played a Marvin Gaye tribute concert at Wolf Trap in August 2021 (2 words)

46. Trailblazing Black punk band with a beer styled after them, produced by Key Brewing Co., called Positive Mental Attitude (2 words) 47. D.C. native and late ‘90s/early 2000s R&B star behind the smash-hit “Pony,” who worked extensively with artists like Timbaland, Aaliyah and Missy Elliott 48. The first D.C. go-go band to be signed to a major record label (2 words) 49. D.C.’s most prominent performing arts center (2 words) 52. White House-adjacent live music hall which shares a name with a certain popular musical (2 words) 53. R&B singer originally from D.C. whose 2019 album “Shea Butter Baby” was her first for Dreamville Records (2 words) 54. Music venue at the Wharf which opened in 2017 with a show featuring The Foo Fighters and The Struts 55. The official music of the District as of 2020, and rightfully so 56. One of the few local music venues which includes a number in its name 57. Revolutionizers of go-go, most well known for their hit “Jungle” (2 words) 58. Simply, the godfather of go-go (2 words)

DOWN 1. Activist group working to protect go-go’s legacy in the District (3 words) 2. A beloved venue which recently relocated to Union Market — think a singing avian creature, just spelled differently 3. A global superstar featured on the Ben’s Chili Bowl mural (next to the Obamas), whose work and influence expands far beyond just Paisley Park 4. D.C. hybrid nightclub and concert venue, also ranked as the world’s best nightclub in 2021 by DJ Mag 5. One of D.C’s most famous rappers, who rose to prominence with the release of “Dig Dug (Shake It)” 7. Their song “(Doin’) Da Butt” was in “School Daze,” Spike Lee’s 1988 film (2 words) 11. Grungy go-to H street venue which closed spring 2021 (4 words) 12. Annual outdoor music festival launched in 2014 at the back lots of Union Market (3 words) 13. Song by The Blackbyrds named after one of D.C.’s most beloved (and largest) public parks (3 words) 15. Artist and producer behind 2020’s “Live Forever” album (2 words)

NOTE: Check districtfray.com for the answer key.

16. Singer behind the classic “Killing Me Softly With His Song,” which hit no. 1 on the charts in 1973 (2 words) 18. A new venue in Navy Yard with a partially-seated set-up, making for a relaxed musical experience – unless you want to rush the stage (2 words) 21. One of the most famous venues in D.C. whose name includes a time (2 words) 23. A leading figure in the American modern dance movement, she founded a dance company in 1926 in her name and earned Kennedy Center Honors and the Presidential Medal of Freedom (2 words) 27. Drummer for Nirvana and founder + iconic frontman of the Foo Fighters who attended high school in Arlington and Alexandria (2 words) 30. A jazz and supper club located in Georgetown which hosted Miles Davis and Dizzy Gillespie (2 words) 31.Trailblazing post-hardcore band, whose name also means fake, artificial 34.The 1975 album from funk legends Parliament, titled after one of the District’s most beloved nicknames, honoring its history as the first majority Black major city in the U.S. (2 words)

35. Music venue on U Street with a bust of a certain U.S. president in the window (2 words) 38. Famous venue in Columbia, Maryland, which has an Animal Collective album name after it 39. The band behind the D.C. classic “The District Sleeps Alone Tonight” (2 words) 40. A new Water Street venue on the waterfront (2 words) 41. One of the world’s most famous pianists, composers and jazz artists originally from the District, who has a local arts school named after him (attended by Dave Chappelle) (2 words) 43. Rapper formerly known as Jay IDK 44. Theater that annually hosts the Washington Ballet’s “Nutcracker,” named after a co-founder of Warner Bros. Studios (2 words) 50. One of the District’s high schools which Marvin Gaye attended, located in Columbia Heights 51. In a classic SNL skit, Will Ferrell played this instrument

Bartees Strange. Photo by Ashley Gellman.

94 points

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92 points

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| SUMMER 2021 Please enjoy our wines responsibly. © 2021 Constellation Imports, Rutherford, CA USA

IN OTHER WORDS

A LEGENDARY

STORYTELLER WORDS BY BRANDT RICCA

PHOTOS BY JONATHAN THORPE

Piecing together D.C.’s musical past with Rev. Dr. Sandra Butler-Truesdale

Rev. Dr. Sandra Butler-Truesdale is the epitome of a walking local encyclopedia, with a curiosity to discover more. I first met Truesdale in summer 2020 on the set of a project we collaborated on highlighting the successes of the Black community in the DMV. That project was followed by a lunch, which went on for five hours. I took out a tape recorder to record our conversation and was regaled with tales about Howard Theatre, where Ella Fitzgerald would stay when she performed there, and singing in choir with Marvin Gaye who was “cute.” We have worked together many times since. Walking down the street next to her all you hear from passersby is “Hey, Sandra!”

And she greets them with “Hey, baby!” She has the attitude and energy of someone in their ‘20s with no sign of slowing down. Her vast career in D.C. as an entrepreneur, warrior for education, music historian/enthusiast makes her a person who you want to grab a cup of coffee with to soak up her most important role: storyteller. We recently reconnected for another conversation — as if I needed an excuse to linger in her radiant and legendary orbit again.

District Fray: You are a true Washingtonian, born and raised here. At almost 82 years old, what has been the biggest change you’ve seen in the city throughout the years?

Rev. Dr. Sandra Butler-Truesdale: There have been several changes. You need to understand that I have actually lived eight decades. But a major change that I saw was the integration of D.C. Public Schools and another was D.C. citizens getting the right to vote. It was about D.C. not having elected officials and [being] run by Congress and a committee.

What has your career trajectory been like?

I was taught that besides an academic education, I should pursue other vocations. My grandfather used to tell me, “Always have a vocation, because the man giveth and the man taketh away.” So, I learned to do several different jobs. I owned a women’s gift shop called the “The New Thing.” It was rather 82 | NOVEMBER 2021

successful. I was then on the road with James Brown and Ray Charles in the 1970s doing hair and make-up, followed by working and retiring from Verizon, the telephone company.

You then founded DC Legendary Musicians, Inc. in 2002.

What did you think the need in the musician community was?

Remember, I had worked on the road and I learned from jazz musicians that they did not think about benefits. They were in the business of performing/singing. If they became ill on the road or anything, they didn’t have insurance. When I left the road, I saw there was a need for an organization to help them get benefits. Through GWU and the D.C. Office of Aging, I found the means to assist musicians and performers and anyone else who needed assistance.

FIRST PAGE. Rev. Dr. Sandra Butler-Truesdale and Brandt Ricca at Howard Theatre.

IN OTHER WORDS What has your impact been on the music industry of Washington, D.C., since starting DC Legendary Musicians?

We have a board that does a lot of work, but one of the things I want to point out to you is that we work really closely with R&B and gospel musicians. Genres other than jazz also don’t receive the benefits or acknowledgments that they are entitled to.

What was it like to participate in the original March on Washington to see Martin Luther King Jr. speak in 1963?

It was the largest group of people I had ever seen who joined together for a cause. They were perfectly peaceful. All were focused on civil rights and making positive change.

You’ve worked with a myriad of talented musicians, including James Brown and Ray Charles. What is it that attracts you to music?

I came from a family that loved music. I tell people that [during] the time I was coming up almost all families, particularly in the Black community, had some type of musical instruments in the homes. In my neighborhood on Corcoran Street Northwest, there were musicians all over who eventually became professional, like drummer Jimmy Cobb and saxophonist Carter Jefferson. We had a music teacher on the corner who taught us how to play classical music. It’s always been in my surroundings and the attraction is very natural.

What are your future plans for the D.C. jazz community?

To continue to work with other organizations that are focused on jazz musicians and to educate our young people on the value and the history of jazz. It’s important to learn what that history is, where it started and who was involved.

You recently started a new business venture with no signs of slowing down.

What will your new company be doing?

Local Strategies by SBT is a consulting firm that supplies information and research about music and the history of the Black men and women in D.C. I guide the musicians who may need help with outreach in the community.

What needs do you hope to meet for musicians in the District?

[I want to] provide services for the performing arts community, develop creative opportunities for musicians, and continue to provide and educate them on their needs. More importantly, I want to research the history of musicians before us. And research the history of venues in the DMV, such as the Kennedy Center. People may not know that the KC is built on land that was owned by, rented by and lived on by Black people. The KC owes the Black community recognition for that land.

Favorite place to eat in D.C.? The Saints Paradise Cafeteria. Go-to venue for live music? Mr. Henry’s in Capitol Hill. It’s an intimate venue and they tend to hire local musicians. Favorite artist you worked with? The one I worked with and cared the most about was Ray Charles. Ray was multitalented and was a person who was willing to give opportunities to young musicians aspiring to be professional. What are you currently listening to? I listen to a lot of jazz now because I am coming back to what I listened to as a child. And of course, what I learned to love in my teenage years was R&B. I even listen to go-go. Favorite neighborhood in D.C.? The community is Petworth because I lived there for 52 years. Most memorable event that’s happened in your lifetime in D.C.? It is very difficult to say one event, but I was and still become very excited about the organization and development of the Funk Parade in U Street Corridor.

Where can you be found on a Saturday afternoon? On Saturday you would most likely find me at home resting and getting ready for Metropolitan AME Church service for the next day. What does music mean to you? Everything. I think of music as a spirit. And it is a spirit that can uplift you if you are down and out and even if you are happy. The positive sounds accentuate that.

Follow Rev. Dr. Sandra Butler-Truesdale on Instagram @sandrabutlertruesdale. Listen to “Don’t Forget the Blues” on Wednesdays on WPFW Radio, 89.3 FM, of which she is programmer, writer and producer. Learn more about the work of DC Legendary Musicians at dclmusicians.org.

SECOND PAGE. L to R at Howard Theatre. Rev. Dr. Sandra Butler-Truesdale. Brandt Ricca, owner of local marketing agency.

Ariel Davis, local musician and arts administrator. Joe Caruso, local musician. Aaron Myers, local jazz singer.

DISTRICT FRAY | 83

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