Washington City Paper (January 19, 2018)

CITYPAPER Washington

housing: tents toppled 8 food: why your dinner is so expensive 16 arts: fugazi at the opera 19

Free volume 38, no. 3 washingtonCitypaper.Com jan. 19-25, 2018

MOTHERLAND CONNECTION Backyard Band and Team Familiar have long been staples of the DMV’s lively go-go scene. Now they’re bringing the beat to their ancestral homeland in Africa. P. 12

By Alona Wartofsky

2 january 19, 2018 washingtoncitypaper.com

INSIDE

12 motherland connection Backyard Band and Team Familiar travel to Africa.

Park yourself in a great rate.

By Alona Wartofsky

4 Chatter

City List

distriCt Line

23 City Lights: Lana Del Rey brings her Lust for Life tour to the Capital One Arena on Thursday.

23 Music 29 Theater 30 Film

7 Pass Fails: DCPS continues to promote unprepared students.

8 Housing Complex: Homeless booted to make way for art 9 Gear Prudence 10 Indie in D.C. 11 Savage Love

food

30 Crossword 31 CLassifieds

16 Profit and Sauce: Ingredients are expensive.

arts 19 Full Disclosure: Fugazi inspires an opera.

20 Short Subjects: Gittell on 12 Strong: The Declassified True Story of the Horse Soldiers and Olszewski on The Road Movie 22 Curtain Calls: Jones on Theresa Rebeck’s The Way of the World at the Folger Theatre

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washingtoncitypaper.com january 19, 2018 3

CHATTER

A representative selection of comments on last week’s cover story:

“Banner Year: The Women’s March Kicked Off a New Era of Activism in D.C.” By Matt Cohen

In which readers express their appreciation for D.C.’s Russian restaurants

Darrow MontgoMery

I’m glad there are orgs that actually formed and are doing things. Majority of the people I know self-braggingly post all this stuff about activism on Facebook and whatnot and don’t get off their butts. Change happens by virtue of being active, not simply by circulating the same articles/posts.

—wapo_comments on washingtoncitypaper.com I’ve lived here in DC for 30 years—long before you pathetic communist wanna-bes managed to stop wetting your panties when someone laughs at your faux intellectual bloviating about “resistance”…

—Typical DC BS on washingtoncitypaper.com “Plight Russian: How Are D.C.’s Russian Restaurants Faring in the Face of Tense U.S.-Russia Relations?” By Laura Hayes Liberals love immigrants. Conservatives love Russia. I don’t see how these places aren’t booming right now, they’ve got something for everyone.

—bibrexd on Reddit I feel bad for the owners of Russia House in Kalorama. “We got a rock through the window the weekend of the inauguration.” —John Hudson on Twitter Dude, nobody’s thrown a rock in the window of Etete or any of the Mexican/Salvadoran restaurants lately. In an age where a pizza place can get “self-investigated” based on complete BS, there may be something there.

—EricSchillerDev on washingtoncitypaper.com Be nice to Mari Vanna or be my enemy.

—Mallika Sen on Twitter

I like Russia House and its steadfast commitment to actual Russian food, as ghastly as that can be (plain bowls of buckwheat? Why not?) The vodka tastings they do are also really fun. If they need ideas, they could lean into something like the old Serbian Crown in McLean—deeply missed!

—pint_apple on washingtoncitypaper.com Folks, if you worry about democracy in Russia why not start with a shot of vodka and a bowl of borscht at the Russia House.

—Edward Lozansky on Twitter

200 BLOCK OF M STREET NE, JAN 16

EDITORIAL

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LOCAL ADvERTiSiNg: (202) 650-6937 FAx: (202) 650-6970, ADs@wAshIngtonCItypApeR.Com Find a staFF directory with contact inFormation at washingtoncitypaper.com vOL. 38, NO. 3 JAN. 19-25, 2018 wAshIngton CIty pApeR Is publIsheD eVeRy week AnD Is loCAteD At 734 15th st. nw, suIte 400, wAshIngton, D.C. 20005.

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4 january 19, 2018 washingtoncitypaper.com

American Ballet theatre Kevin McKenzie, Artistic director

ratmansky, Millepied & Wheeldon (Jan. 30 & 31)

Serenade after Plato’s Symposium (Bernstein/Ratmansky) D.C. premiere, part of Leonard Bernstein at 100

Other Dances (Chopin/Robbins), part of ABT’s Robbins Centennial celebration I Feel the Earth Move (Glass/Millepied) D.C. premiere Thirteen Diversions (Britten/Wheeldon)

Whipped Cream (Feb. 1–4)

January 30–February 4 | Opera House with the Kennedy Center Opera House Orchestra Program subject to change. Casting available at kennedy-center.org.

Photos: Matthew Murphy

Gillian Murphy and James Whiteside in Whipped Cream, photo by Rosalie O’Connor

D.C. premiere of Ratmansky’s delightful full-length story ballet with a score by Richard Strauss and sets and costumes by pop surrealist Mark Ryden

Now thru January 28 | Opera House TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (202) 467-4600

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

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

American Ballet Theatre’s engagement is made possible through generous endowment support of The Lee and Juliet Folger Fund.

Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

Additional support is provided by Ambassador Elizabeth Frawley Bagley.

washingtoncitypaper.com january 19, 2018 5

A N A C O S T I A A RT S C E N T E R J A N U A RY C A L E N D A R THEATRE

1231 GOOD HOPE RD SE

CONVERGENCE THEATRE PRESENTS:

JAN. 19 FEB.

THIS IS ALL JUST TEMPORARY

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JAN.

HOLIDAY STARKILLERS STRIKE BACK

20

CLOSING RECEPTION

JAN.

A L L T H E WAY L I V E T U E S D AY S F R E E C O N C E RT S E R I E S

4:30-6:30 PM

30

FEATURING ALLISON BALANC

7-9 PM

AT H B H E O C H A N : U N T R A N S L ATA B L E WISDOM

JAN.

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

BY MEGHAN WALSH

1231 GOOD HOPE RD SE

5-8 PM

T H E F E W. . .

THE PROUD...

BY JOANN BLOCK

6-9 PM

2208 MARTIN LUTHER KING JUNIOR AVE SE

TRIPLETS: THE E N I G M AT I C E G O S B Y J E N N A N O RT H

6-9 PM

1241 GOOD HOPE RD SE

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

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

January 26, 2018, 7 p.m. $40 - General Public, $30 - Seniors, Faculty, & Staff, $25 - Students & Military, & $150 - VIP Package

(VIP Package includes one ticket in choice location, a complimentary drink from concessions in a commemorative cup, a poster, & entrance to the VIP Meet & Greet with Bruce. Bruce will sign one item per VIP ticket & patron may take a photo with him with their own camera or phone.)

RobeRt e. PaRilla PeRfoRming aRts CenteR Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

COMMUNITY

Friday, January 19, 6–8 p.m.

S H O W CA S E

It’s local bands and local beer!

Explore thousands of artworks while listening to DC bands Light Beams and Time Is Fire. Free tasting with Right Proper Brewing Company.

Libations and snacks available for purchase at the bar.

Luce Unplugged 6 january 19, 2018 washingtoncitypaper.com

Presented with the Washington City Paper.

8th and G Streets, NW | Washington DC | AmericanArt.si.edu

DistrictLine Pass Fails

white, Hispanic, Asian, straight, LGBTQ, tall, short, quiet, loud, athletic, artsy, you name it— has wanted to learn. The problem is just that few have been set up to do it.

DCPS is a school district with tremendous assets: gorgeous buildings, state-of-the-art resources, devoted and hardworking staff. Most importantly, the District is full of brilliant and talented students. But its obsolete system of education prevents students from doing the things they come to school to do: learn, develop their passions and interests, achieve their true potential. And I don’t think that we can solve the District’s attendance crisis without simultaneously addressing its much more fundamental academic one.

Darrow Montgomery/file

DCPS’ attendance crisis will continue if schools keep promoting kids who aren’t learning.

By Rob Barnett “how can our students be learning if they aren’t coming to school?” It’s a question that officials in D.C. have been asking themselves lately, as they seek to explain both chronic truancy and record graduation rates in DCPS. But it isn’t the right one.

What we should be asking instead, is “Why aren’t students who come to school learning?”

Three in four DCPS students graduate from high school, yet less than one in three high school students are proficient in English, and less than one in seven high school students are proficient in math. Should we really expect students to attend classes they aren’t prepared for when they’ll almost certainly pass regardless?

Getting students in the door is one thing; getting them out with the skills and knowledge they require is another. How can we do both? aS a former DCPS high school teacher, I know firsthand that students miss school for many reasons. My students missed class because they were experiencing homelessness, because they took care of younger siblings or elderly relatives, because they worked to sup-

port their families, or because the Metro broke down. Some encountered a combination of the above issues. Sometimes they came to school and were still marked absent by the District’s punitive 80/20 attendance policy. These are all factors that D.C.’s recent attendance-promotion efforts should seek to address.

In my experience, however, the biggest driver of student absence is something simpler: Students don’t attend class because they aren’t learning—and they don’t need to. Thanks to a toxic mix of social promotion, institutionalized inequality, nominally high standards, and stunningly low expectations, most students in DCPS take classes for which their test scores reveal they are grossly underprepared. A student-friendly grading policy makes passing routine and thus compounds the problem. It’s no wonder that I regularly saw students, often those who were furthest behind, cutting class or showing up five minutes before the bell, or dragging their feet before the small army of administrators and security guards my school employed to push kids into classrooms. There isn’t much reason for these students to be there.

This isn’t to say that students don’t want to learn. Every student I’ve ever taught—black,

So why aren’t our young people learning?

The first reason that so many students don’t learn—and then, eventually, don’t attend—is that their classes don’t meet their needs. Consider a typical high school math class. Given the prior test scores of most DCPS high schoolers, it is virtually certain that the majority of the class is unprepared for the course material. Even so, students are placed in those classes, expected to learn rigorous math content as outlined by ambitious Common Core standards, and are still, for the most part—with another year of failing test scores and without any meaningful effort at remediation—promoted to more advanced classes. Is it any wonder that a student who can’t multiply wants to avoid an algebra class? Or that the rare student on grade level skips a watered-down course that is filled with students who are several years behind?

The second reason students don’t learn is that DCPS’ grading policy doesn’t require them to. Under the most recent iteration of the grading policy, students can pass an entire course by earning a high enough grade in any one of four marking periods. There is no requirement that a student show sustained mastery of the course material or complete any sort of culminating assessment. A student who earns an A in one quarter and sleeps through the rest of the year will pass.

The students who don’t learn aren’t lazy, or unmotivated, or unable. Instead, they respond reasonably to the incentives that DCPS, in its haste to graduate its students, has put in place. They are the students DCPS leaves behind. theSe academic problemS may seem intractable. (They exist in the fancy private schools where I’ve taught, too.) But if D.C. is the bold and innovative district it claims to be, it can make some significant changes that have the potential to help students.

First, DCPS should allow students to learn

at their own pace, regardless of how long it takes or where it happens. The biggest impediment to student learning is time pressure: the strange idea that every student needs to acquire the same predetermined set of skills each year, and thus each month, week, and day. It’s what pushes underprepared students into classes they can’t handle and holds advanced students back, thereby keeping all students from reaching their true potential. Why not eliminate it?

Give each individual student something appropriately challenging to do every day, and they’ll be more likely to show up.

Second, DCPS should tie promotion to actual mastery. A student who scrapes through school with a D average will earn a diploma, but it isn’t worth much. Fix the broken incentives of the grading policy with this simple rule: When you’ve proven that you understand something, you move on. And when you’ve proven that you have developed the skills that you need to successfully enter the working world, DCPS sends you into it, prepared to fly.

There are many versions of self-paced, mastery-based learning, but those that are most successful, both in highly effective DCPS classrooms and in innovative schools around the country, share common elements: online lessons that deliver content on students’ own time, meaningful projects that require student inquiry and initiative, and teacher support that is individualized to each student’s unique needs.

These courses are not online credit-recovery factories, they are dynamic academic ecosystems where students actually learn.

The inherent flexibility of these combined online/in-person classrooms also makes them accessible to students with real attendance issues. In a traditional school setting, a student who misses a week of class to care for a sick sibling faces the added challenge of making up missed material. In a self-paced classroom, that student simply picks up where they left off, assuming they haven’t been learning from home the whole time.

There are logistical challenges to adopting this model of education. Schools are built around the idea of grade-level cohorts and D.C. law defines graduation requirements in terms of the hours that students spend in physical classrooms. We have all become accustomed to the year-by-year progression of education, and the low expectations that it often fosters.

Still, the current system is failing. (Is 13% math proficiency anything else?) The District faces a vicious cycle: Students who aren’t learning aren’t coming to school, and students who aren’t coming to school aren’t learning.

If we want students to attend, we must make sure that schools are places where students really learn.

CP

washingtoncitypaper.com january 19, 2018 7

DistrictLinE NoMan’s Land

Darrow Montgomery

D.C. forces homeless residents to relocate from sidewalks beneath train overpasses to make way for public art installations in one of the city’s fastest-growing neighborhoods.

By Andrew Giambrone DoloreS SitS alone on a concrete ledge in NoMa while trains rattle 50 feet away.

For the moment, her only company is her stuff: a small Popeyes box; a tattered Bible open to Colossians; several plastic bags filled with socks, snacks, and gloves; and a pile of blankets, each a different color.

The temperature feels like it’s in the low 20s.

Dolores is bundled up, reciting Bible verses. She wears two beanies and at least as many coats, the outermost of which has a fur hood. Her top-layer beanie has an American eagle emblem and says “D.C.” Two pens, one purple and the other brown, hang from the lapel of an inner jacket. She’s donned a string of turquoise beads and heartshaped purple earrings.

Dolores’ perch is down the block from Wunder Garden, a beer garden that advertises itself as “climate controlled.” It’s also around the corner from the flagship REI store, which opened at the historic Uline Arena in 2016 with long lines and commensurate hype.

NoMa has been booming with new con-

housing complex

struction and planned development over the past several years. That includes a recent spurt of so-called “placemaking projects.”

Fur hood up, Dolores introduces herself when approached by a City Paper reporter. She gives her real first name, which she asks not be published because she doesn’t want her family to know she’s living like this: meal-to-meal and outdoors, taking cover beneath a Metro and Amtrak overpass when it rains or snows.

Her spot is four blocks north of Union Station, where she says she’s lived too.

Until last Thursday, it was relatively easy for Dolores and her homeless neighbors to stay under this overpass and another on M Street NE. But then city workers came and swept through what had been clusters of tents and people’s possessions. Before the cleanup, there were about 15 tents on L Street, Dolores says.

The District provides different numbers.

Sean Barry, a spokesman for Deputy Mayor for Health and Human Services HyeSook Chung, notes there were about seven tents on L and M streets on the morning of the sweep. On earlier days, Barry adds, there were nearly 20 tents.

He says outreach teams had informed the residents of city services, but none of them took a hotline van to shelter on Thursday. Large signs

8 january 19, 2018 washingtoncitypaper.com

posted on street lamps had foretold of the cleanup since Dec. 28.

Immediately following the sweep, something caught the homeless off guard. Contractors for the NoMa Business Improvement District, established

by D.C. in 2007, put up fences on both sides of L and M streets.

The fencing has blocked off much of the sidewalks on both sides of these streets. As a result, the homeless can no longer pitch tents where they have for the past few years.

Many of the residents have shifted to the underpass on K Street NE, where fences haven’t yet gone up. On Monday, about 20 tents lined the passageway. Several more stood around the perimeter of Union Station. Four young women distributed care packages in Ziploc bags.

“As a country, we’re in the hole,” Dolores says. She speaks loudly, as if she’s lost some of her hearing, and says she’s in her 50s.

She points at the fences on L Street. “Like them doing that. That’s wrong.”

Dolores says everyone was “shocked” by the installation of the barriers. “People thought they could move their stuff back,” she explains.

“One man put his head in his hands and I think he started crying. People was hurting, saying ‘I can’t believe they’re allowed to do this.’”

Camping on public space owned by the District is illegal, as is blocking public rights-ofway. That’s why Dolores doesn’t use a tent.

She says she doesn’t have one, knowing that the city asks people to break them down. So when it rained on Thursday night, she brought a chair beneath the overpass and slept on it.

Dolores says she used to work at the Philadelphia International Airport before she fell on hard times. She moved back to D.C. in 2012 and stayed with a cousin while she looked for a new job. It didn’t work out, like it hasn’t for her homeless neighbors.

“A lot of people thought it was an act of cru-

elty,” Dolores says of the fencing. She pauses.

“It’s lonely and scary out there.”

Since 2012, the NoMa BID and the associated NoMa Parks Foundation have planned to install art in the L and M street underpasses as well as those on K Street and Florida Avenue NE, BID President Robin-Eve Jasper says.

The selected displays for the L and M street underpasses are called “Lightweave” and “Rain,” and they involve dynamic LED lights. Winners for the two additional displays haven’t been announced.

The budget for the four art projects is $2 million. That money comes out of the $50 million the District appropriated to the BID, in 2013, to support public amenities in the historically industrial neighborhood. Several development executives whose firms have projects across D.C. sit on the BID’s board.

Jasper, a former real estate chief for Mayor Adrian Fenty, says the displays were initially contemplated when “far fewer” people lived under the overpasses. She says the fencing on L and M streets is necessary for construction that’s about to begin this month and is expected to last until April.

The installations, she adds, will spruce up the “dimly lit, unappealing, unattractive underpasses.”

“We wanted to make them comfortable and inviting,” Jasper explains, recalling that prostitution and drug activity used to happen at the sites. The fences will come down once the construction is finished, she says, though the displays are planned to be permanent.

“We understand that everybody is going to be inconvenienced,” says Jasper. Pedestrians and cyclists, for instance, now have to navigate narrower sidewalks.

In its current strategic plan, the NoMa BID points out that it has “helped place 20 homeless people in housing and helped connect 50+ people to services” through outreach.

Jasper says the BID received over 300 comments about the projects from a community engagement process that started several years ago.

Those figures don’t seem to matter to some of the homeless living in the K Street underpass. On Monday, a young woman with blonde hair who said she lived there said, “We think the art thing is probably just bogus.”

When asked about the perception that NoMa business leaders want to push out the homeless, Jasper says that isn’t the case.

“There’s never really good optics around this,” she says. “I do think it’s a diversion to focus on the temporary fencing of the sidewalks rather than what the real issues contributing to homelessness are.”

She says those issues include shelter conditions, mental illness, and a lack of affordable housing. “I’m hoping that the attention this is getting will ultimately lead to real improvements,” says Jasper. encampment cleanupS have become regular occurrences under the administration of Mayor Muriel Bowser. Officials say they’re intended to protect the health and safety of

homeless residents and the general public.

But critics say the sweeps merely displace people in the short term and waste taxpayer money. They describe the cleanups as bandaid fixes for a deeply entrenched problem.

In NoMa, past is prologue: D.C. dismantled an encampment in the L Street underpass last June.

“It’s a whack-a-mole game,” says homeless advocate Eric Sheptock, who is homeless himself. Sheptock walked through the neighborhood’s underpasses following the Jan. 11 sweep and posted a self-narrated video of the aftermath on his Facebook page.

“You want to get people into housing, and into shelter if not housing,” he says. “That’s positive.”

D.C.’s homeless population has ballooned in the wake of the economic recession. Last January, officials recorded 7,473 homeless people. That was a 10.5 percent decline compared to January 2016, but still a 40.5 percent increase from 2007.

For a subset of this total, unsheltered single adults, the number rose from 318 in 2016 to 897 in 2017. Last year’s homeless census occurred on an unseasonably warm night, so residents may not have gone indoors. The 2018 annual census is scheduled to take place next Wednesday.

The city’s population has also surged since the recession. In December, Bowser declared that D.C. was projected to reach 700,000 residents “within the next few months.”

That’s meant more tax revenue for antihomelessness and other programs. But the growth has fueled gentrification pressures in some neighborhoods.

D.C. also guarantees a rare, legal right to shelter during extreme weather. In effect, shelters can fill up quickly when temperatures drop below freezing.

DoloreS iS wary of shelters. She says many people she knows who have entered them have returned to the streets shortly thereafter.

Some, she says, act “batty” when they come back. She says shelters have too many rules and requirements in her experience, and that they don’t end a person’s homelessness.

On dangerously cold nights, Dolores says she’s been fortunate enough to benefit from strangers’ kindness. Men and women, sometimes acting in groups, have paid for her to stay in hotels for nights at a time, including NoMa’s Hilton Garden Inn on First Street NE. She recalls putting lotion on her skin, taking showers, and microwaving noodle cups there.

“A real hotel, not roach-ridden!” she says.

Fences in the underpasses or not, Dolores realizes that she’s picked a strategic spot to lay her head. In the course of an hour on Monday, five Good Samaritans gave her clothes, bottled water, a storage bag, meals, snacks, and acknowledgement.

The third, a woman in a white BMW with a child in the back seat, gifted her Oscar Mayer turkey, prepared food, and an apple.

Dolores cracked a smile and laughed. “I’m waiting for that one to come with the key,” she said.

CP

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Gear Prudence: I’m moving into a new studio apartment and bringing my beloved bicycle. The building has a bike room, but I’ve always kept my bike in my apartment. Space is really cramped in the new place, though, so it seems silly not to use the bike room since it’s there. Is it really safe though? How do I know?

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FITNESS - FOCUS SELF-DEFENSE

Dear BIKEROOM: A bike room is one of those amenities that sounds great on the tour, but rarely lives up to expectations. Either it’s tucked away in some inconvenient sub-basement or it’s already full of barely used bikes, dutifully deposited on move-in day only to be abandoned for the length of the lease (or beyond).

But let’s suppose you’re in a building with a bike room that’s reasonably accessible and has sufficient space. Scope it out. Can anyone with a building key access it, or is it restricted to those with registered bikes? Are there security cameras? Are the bikes inside locked to racks, or just sitting there? And while you’re poking around, check out the quality of the bikes inside. If people with nicer (or more expensive) bikes trust it, so can you. And if they’re wrong, their bikes will be more appealing to thieves anyway, so you should be good.

—GP

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Gear Prudence: Before Christmas, I told my husband that I wanted to buy him a new bike. We went to the bike shop and he showed me his top choices. He said any of the three bikes he showed me would be an “amazing gift.” Christmas morning, his new bike is under the tree and I can tell he doesn’t love it. He pretended that he did, but I could see it in his eyes. What the hell happened?

Why isn’t he happy about the stupid bike that he picked out?

—Faker. Indignant Companion Knows Letdown Expression

NIMH Research Study

Join A Study! Help Advance

S IENCE

Dear FICKLE: The only thing you did wrong was to try and make a cyclist happy. It simply cannot be done. (Probably something to do with sitting on such a narrow seat.) Really, there’s no way to know when or how this whole situation metaphorically careened off the road.

Maybe when you went to the shop he did have a strong preference between the three bikes but was afraid to say so because he wanted to let you choose the gift. Or maybe he only realized his true preference when confronted with the “wrong” bike. Or maybe in the intervening few weeks, a brand new bike was released that’s now his favorite. Tell him that you’d be OK if he returned it and that you’d rather he have a bike he loves than a gift that neither of you are happy about. Or tell him he’s a jerk for putting you through this whole charade. Or both.

—GP

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Gear Prudence is Brian McEntee, who tweets @sharrowsdc. Got a question about bicycling?

Email gearprudence@washcp.com.

washingtoncitypaper.com january 19, 2018 9

INDIEIND.C. ACCOUNT EXECUTIVE – ADVERTISING SALES Washington City Paper has an immediate opening for an outside sales position responsible for pitching, closing and servicing our advertising and media partner clients across our complete line of marketing solutions (print, online, digital ad network, and event sponsorships).

Qualifications, background, and disposition of the ideal candidate for this position include: • Two years of business-to-business and outside customer sales experience • Experience developing new territories & categories including lead generation and cold calling • Ability to carry and deliver on a sales budget • Strong verbal and written communication skills • Able to work both independently and in a team environment • Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic • Must be organized, detailed and results oriented with professional presentation abilities • Willing to embrace new technology and social media • MS Office suite proficiency - prior experience with a CRM software application • Be driven to succeed, tech-savvy, and a world-class listener • Enjoy cultivating relationships with area businesses We offer product training, a competitive compensation package comprised of a base salary plus commissions, and a full array of benefits including medical/dental/vision, and paid time off including holidays. Compensation potential has no limits – we pay based on performance.

For consideration please send an introduction letter and resume to Melanie Babb at mbabb@washingtoncitypaper.com.

No phone calls please.

Indie in D.C. is a monthly feature on independent makers and retailers throughout the District. Here we talk with Amir Browder, owner of Homme. The Homme kiosk, which sells men’s accessories, is located at National Airport. Browder also has a space at O Street Artist Studios where he sells clothing, hosts events, and features up-and-coming artists.

Homme, 52 O Street Studios, 52 O St. NW, by appointment. Homme kiosk, Ronald Reagan Washington National Airport, Terminal C. Instagram: @homme_dc

Now let’s go back, because you said you were also driving Lyft when you were having that meeting with Dulles. How long did you drive with Lyft, and are you still driving?

I’m not driving anymore. I drove Lyft full time pretty much from January of 2016 to July of 2017 when I got the space here. I would do it every day, Monday through Sunday, for about 5 to 6 hours a day. That would enable me to keep my shop running at O Street.

I’m really glad you are talking about this, because sometimes people don’t understand the reality of being an entrepreneur, especially in D.C. It’s not like you open a brick and mortar and say, “Okay, I’m done.” The rent has to be paid. You have to pay for inventory. You were building a dream while you were keep-

be there to help cultivate it and say, “Yo, you can do it. This is your chance. I’m not going to block your creative freedom. Do whatever you want to do in the shop. Do it. I want to support you.” That’s the person I want to be. I want to be able to shine a light on making sure we have more places like that in the D.C. area.

—Kaarin Vembar

You used to have a men’s boutique at the Anacostia Arts Center. Why did you move from that space to O Studios?

I totally loved Anacostia Arts Center, I loved everything about it. Loved the people, I loved the vibe, I loved the incubator aspect of it all.

But I thought it was time to move on and be more central so people could see me better.

Why open something in an airport?

I was looking at CBS morning news one day and they were talking about JFK Airport and Newark Airport. They were saying how those places were trying to be cool. The way that they were trying to become cooler was to have these cool chefs. I was like, “I think my stuff is pretty cool. I think I could add something to this.”

I said, “Well, what is it that I could really offer? I’m not going to sell clothes at an airport.

That wouldn’t make sense. Oh! I know what I can do. I can offer cool men’s accessories.

I want them to be from artists that are in the D.C. area.” I went on Google and called Reagan Airport ... I spoke about the concept to the young lady who was here, I told her what we were trying to do … I wasn’t really ready. She was like, “Whenever you are ready, just come back and we’ll see what we can do.”

10 january 19, 2018 washingtoncitypaper.com

Ja’Mon Jackson

Your primary focus will be on developing new business through new customer acquisition and selling marketing solutions to existing customer accounts. Account Executives, on a weekly basis, perform in person calls to a minimum of 10-20 executive level decision makers and small business owners and must be able to communicate Washington City Paper’s value proposition that is solution-based and differentiates us from any competitors. Account Executive will be responsible for attaining sales goals and must demonstrate progress on goals and the strategies and tactics used to reach revenue targets for Washington City Paper management.

Kaarin Vembar

In addition to selling and servicing existing accounts, Account Executives are responsible for generating and selling new business revenue by finding new leads, utilizing a consultative sales approach, and making compelling presentations.

You must have the ability to engage, enhance, and grow direct relationships with potential clients and identify their advertising and marketing needs. You must be able to prepare and present custom sales presentations with research and sound solutions for those needs. You must think creatively for clients and be consistent with conducting regular followup. Extensive in-person & telephone prospecting is required.

ing things going. Not that you needed to be doing anything else, but were you doing anything else?

No. Even with Lyft going on I would still have shows [at O Studios]. From the shows, from the pop ups, I was able to have clients.

I could schedule appointments with my clients and I would send them stuff. That was a source of income also. All of these different types of revenue-based side hustles that were still in line with what I was doing. Even with Lyft I was able to meet people to bring to my store.

A young lady who I met in a Lyft actually was the one who did my displays. I was dropping her off one day over at the Anacostia Arts Center and she was an apprentice to the gentleman right next door to the Arts Center who did neon lights… I said, “You think you can do something cool in my shop for me?” And she said, “Let me see it!”

She came by and the next thing you know she did this amazing installation that has pretty much been my calling card for O Street. Its bright neon that shines from my studio that everyone knows now. Her name is Anahita Bradberry.

I really want to make sure that we are supporting local D.C. talent and nurturing it, and also that there are outlets for them to express their talent here. That’s one of my main goals—to be that platform … I want to

2015 went by, 2016 went by, and I got an email from Marketplace. They are the ones that pretty much run the kiosks. I got an email from Marketplace and they said that they were having this meeting out at Dulles about kiosks and concessions.

So, I took my Jeep Patriot, which was on its last leg. Oh my gosh. I was also driving Lyft.

(I’ll get into that later.) I took my 2009 Jeep Patriot down the Dulles Toll Road—and clunkering all the way down there—and I went to the meeting. I see all these guys there. They are going for like, million dollar contracts. I’m looking, and am like, “I want the smallest thing possible.”

I was introduced to one of the people from Marketplace, Joy. She took me to Dulles. She took me here, and I felt more at home at Reagan. It had a great feel to it, a great vibe.

SAVAGELOVE I’m a professional dominatrix, and I thought I’d seen everything in the last five years. But this situation completely baffled the entire dungeon. This middle-aged guy, seemingly in fine health, booked an appointment with me and my colleague for one hour of some very light play and a golden shower to finish off with. We did no CBT, no cock rings, no trauma to the dick area at all, no ass play, no sounding or catheters, no turbulent masturbation, nothing that could have caused this reaction.

We brought him into the bathroom, and he laid down on his back, jerking off with a condom on his penis as my buddy was standing over him and peeing and I was saying all kinds of mean/encouraging sentiments and closely observing his progress.

He came and… it was entirely blood. It looked like he shat into his condom, through his penis. He did not seem alarmed or in pain. He took off his condom himself, so he was aware of the situation.

He did not remark on it to either of us! He made ZERO effort to prepare either of us, either. And it was not a little blood in his ejaculate—it was entirely blood. He has never returned. Is this person a monster or a vampire? Is he dying? Seriously.

—Mistress Echo P.S. I went back to the bathroom with gloves on and removed the used condom from the trash and took a photo. It’s the only way to communicate just how much blood there was.

“You can tell Mistress Echo that her client was not a monster or a vampire, and he is likely not dying anytime soon,” said Dr. Stephen H. King, a board-certified urologist. “What she observed is a person with hematospermia, meaning blood in the semen.”

While the sight is alarming—I’ll never be able to scrape that photo off the back of my eyeballs, thanks—Dr. King assures me that it’s nothing to worry about, as hematospermia is almost always benign. And even if you had done ball play or rough CBT (cock and ball torture), or if he engaged in solo CBT prior to the session, it’s unlikely that kind of play would result in a condom full of blood.

“The vast majority of the semen actually comes from the prostate and the seminal vesicles, which are located deep in the pelvis just behind and below the bladder, respectively,” said Dr. King. “Very little of the ejaculate fluid actually originates from the testicles,” which primarily pump out hormones and sperm cells.

“The prostate gland and seminal vesicles (also glands) store up the fluids and can become overdistended with long periods of abstinence and prone toward micro tearing and bleeding in this circumstance.”

Blowing regular loads doesn’t just lower your risk for prostate cancer, as multiple studies have shown, it also lowers your risk for filling condoms with blood and alarming your friendly neighborhood pro-Dom. Two good reasons for draining those balls, guys—and

other people with balls because, as the Book of Tumblr teaches us, not all guys have balls and not all balls have guys.

“Also, these glands are lined by smooth muscle that contracts to force out the fluid [during ejaculation],” Dr. King continued. “If the force of contraction is excessive—a fucking great orgasm—this may lead toward rupture of some of the surrounding blood vessels and blood will enter the semen.”

Your client’s blasé reaction is a good indication that he’s experienced this previously, ME, because most guys who see blood in their semen—or only blood when they expected to see semen—freak the fuck out.

People may not like to think about the elderly having sex, but lots of old fuckers are still fucking.

“In my practice, most guys who see blood in their ejaculate the first time are sufficiently freaked out to seek immediate medical attention, and their doctors usually tell them this isn’t something to worry about—unless it persists,” said Dr. King. “In cases where the hematospermia persists, gets worse, or is associated with other symptoms such as pain, difficulty urinating, or general health decline, medical attention is definitely recommended.”

Back to your client, ME: If blood loads have happened to him before (hence the blasé reaction), proper etiquette dictates that he should have said something to you about it afterward (“I’m fine, no biggie”). If it happens to him regularly, he should have warned you in advance—at least that’s what it says in my imaginary edition of Emily Post’s Etiquette.

—Dan Savage I’m an old guy, 68 years old to be exact. (Also a Scorpio, if that matters.) I’ve always been a pretty horny person, and I had a lot of fun from the 1960s through the 1980s with a number of lovers. I figured that as I got older, my horniness would lessen and I could think about something other than pussy. Trouble is, I don’t seem to be less horny. I find myself attracted to women in

their 30s or 40s, but I wonder how I appear to them. I don’t want to make an utter fool of myself by making an unwanted advance—but the truth is, I’m still pretty hot to trot. What do I do?

—Not Ready For The Nursing Home You could see sex workers (quickest fix), you could look for women in their 30s or 40s who are attracted to guys pushing 70 (gerontophilia is a thing), you could date women in their 50s or 60s with a youthful appearance and/or attitude (there are lots out there, NRFTNH, and they often gather in groups to complain about how men their age are only interested in much younger women), or you could do all of the above. But you shouldn’t regard moving into a nursing home as the end of your sex life, NRFTNH. I’m constantly reading news reports about sexually transmitted disease epidemics in nursing homes and retirement communities. People may not like to think about the elderly having sex—and the elderly apparently don’t think about protection (or they’re denied access to it)—but lots of old fuckers are still fucking. (And, as astrology is bullshit, NRFTNH, being a Scorpio doesn’t matter. It never has and it never will.)

—DS

My husband has a foot fetish. The feel of his tongue between my toes when he “worships” my feet doesn’t arouse me in the least. Rather, it feels like I’m stepping on slugs in the garden barefoot.

Our sex life is fine otherwise. I resolved to grin (or grimace) and bear this odd aspect of his sexuality before we married, but I cannot continue to do so. When I told him this, he asked to be allowed to attend “foot model” parties. There wouldn’t be intercourse, but he would pleasure himself in the presence of these foot models (and other males). This would, in my opinion, violate our monogamous commitment and our marriage vows. I enjoy your podcast and I know you often advocate for open relationships.

But you also emphasize your respect for monogamy and the validity of monogamous commitments. We are at an impasse. Please advise.

—Throwing Off Expectations While “love unconditionally” sounds nice, TOE, monogamy was a condition of yours going into this marriage (and a valid one), and being able to express this aspect of his sexuality was a stated or implicit condition of his (and, yes, an equally valid one). If you’re going to unilaterally alter the terms and conditions of your marriage, TOE, then you’ll need to reopen negotiations and come to a new agreement with your husband, one that works for both of you. (Jesus, lady, let him go to the fucking party!)

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

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washingtoncitypaper.com january 19, 2018 11

MOTHERLAND CONNECTION Go-go bands have been playing African rhythms for decades.

Now Backyard Band and Team Familiar are taking the beat back to their ancestral homeland in Africa.

By Alona Wartofsky

On the mOrning of Team Familiar’s performance at the opulent palace of the Yoruba king, who is known as the Ooni of Ife, the band members were escorted to an open-air market where they were fitted for hand-sewn traditional African outfits. The matching blue and orange patterned ensembles—gifts from the king—were delivered just in time for the evening’s event at Oodua Palace in the ancient, mystical city of Ife. Hundreds of people, including several royal families and the Ooni himself, Adeyeye Enitan Ogunwusi, filled the palace. As Team Familiar bandleader Donnell Floyd stood up to address the room, he was understandably nervous. “I had this beautiful speech written on my iPad,” he says, laughing. “Then when I got

up there, someone had taken my iPad, so I had to wing it.”

But Floyd knew exactly what he wanted to say. “The point I wanted to make is we see ourselves the same way you see yourselves, which is rich in percussion,” he says. “We’re about the same thing that you’re about.”

Team Familiar’s early December performance in Ife was part of the annual Pan-Afrikan Back to the Roots Festival, which is sponsored by Yoruba Prince Ayotunde Adebayo-Isadipe. The prince lives in Baltimore, where he works on various projects promoting dialogue between Africans and the global pan-African community. Last fall, after hearing about go-go for some time, he checked out a Team Familiar show at Upper Marlboro’s

12 january 19, 2018 washingtoncitypaper.com

Paradigm Lounge.

Struck by the similarities between go-go’s complex percussion patterns and traditional West African drumming, Adebayo-Isadipe set out to achieve what other less resourceful and less connected Nigerian princes might only dream of: He arranged for Team Familiar to travel to Nigeria’s Osun State to perform for the Ooni at Oodua Palace.

During the six days Team Familiar spent as guests at the king’s resort, the band members took in several once-in-a-lifetime experiences.

In a joyous ceremony, the Ooni bestowed each of them with a new Yoruba name and presented statuettes inscribed with the words “Iranwo Oodua” (“Oodua Star”) to Floyd and to virtuoso conga player Milton “Go-Go Mick-

ey” Freeman. Along with several other Team Familiar players, Go-Go Mickey participated in drumming sessions with local musicians.

Band members also attended a performance

by Afrobeat scion Femi Kuti in Lagos. Before the show they met Kuti to talk beats and pose for pictures.

“The whole trip was absolutely incredible— the most incredible experience I could ever even fathom,” says Floyd. “If I live 53 more years, I don’t think I’ll ever experience anything like this.”

Meanwhile, in an extraordinary concurrence, longtime Backyard Band fan Diallo Sumbry has been busy devising his own ambitious “Back2Africa” project. In partnership with the Ghana Tourism Authority, Sumbry’s

D.C.-based Adinkra Group is bringing Backyard and several dozen of their fans for a weeklong visit to Ghana in late February. That trip will feature three Backyard performances and will be filmed by director J. Kevin Swain for a documentary tentatively titled Back2Africa: Discovering the Roots of Go-Go Music that will be released in late 2018.

Both trips are profoundly meaningful to the bands as well as their fans, amplifying crucial lineal, musical, and spiritual links between gogo’s African-American musicians and their ancestral homeland.

“Go-Go bands going to Africa is a connection that none of us have ever thought we would be able to do,” says go-go historian Kato Hammond. “You hear people say, ‘I’m going back to Africa someday. I’m going back to the Motherland,’ but it’s never happened with gogo before. This is like when Barack Obama became president, and we all watched Jesse Jackson out there with tears in his eyes, because he never seen it before. It never happened in our lifetime and we didn’t think we would get to see it, so it’s that big.”

Team Familiar’s visit was also momentous for the band’s Nigerian hosts. In a statement conveyed to City Paper through festival coordinator Adewale Williams, King Ogunwusi stated: “Drums make us who we are and defines our whole being. Drums help us send messages of happiness, sorrow or coded messages from creation. I’m so happy that drums make up the core of Team Familiar’s music. It defines them as true descendants and I’m hap-

py they have visited their home. No doubt they will continue to remain relevant because they know their roots is rooted in drums.”

Williams puts it more simply. “Team Familiar is playing music that feels like real African music,” he says. “When they are coming here to play, they are coming home.”

Go-Go’s AfricAn journeys are not the only developments that demonstrate the genre’s viability in the post-Chuck Brown era. Top bands are playing multiple shows each week, and venues like MGM National Harbor and Maryland Live have opened their doors to go-go.

Years after shows at the Masonic Temple and Club U were shut down, U Street Music Hall’s “Go-Go Returns to U Street” series brings the music back to that neighborhood. New bands are appearing, and older groups are resurfacing for reunion shows. Throughout the DMV, go-go beats can be heard in fitness classes and at Sunday morning church services.

And then there’s D.C.’s newest basketball team: The Capital City Go-Go. It’s impossible to overstate the potential impact of The Go-Go as the name of D.C.’s newest sports team. “[It’s] very positive for D.C.’s G-League team to embrace the city’s indigenous music in this way. Not only does it inextricably connect the team with the real D.C., it provides a real source of recognition of the genre and its D.C. roots,” writes Tom Goldfogle, Chuck Brown’s former manager. “The key will be to ensure that a successful relationship between the team owners/marketing staff and the go-

go community ensues, so both sides see mutual benefits over the long term and remain engaged.”

For the musicians, the acknowledgement is long overdue. “They’re finally seeing what’s really going on, that this is a go-go city,” says Backyard Band leader and lead talker Anwan “Big G” Glover. “Go-Go is strong as ever, and I love to see that. Our music isn’t going anywhere, and … our music is beautiful. l mean, we take care of our families off of this music.

We have so much history with this music.”

Go-Go dates back to the mid-’70s, when local bandleader Chuck Brown and drummer Ricky Wellman devised percussion breakdowns to fill the awkward space between songs at live shows. Audiences loved those breakdowns, so the band incorporated them into the songs.

In the ensuing years, go-go came to dominate the local African-American live music scene as pioneers like Trouble Funk, Experience Unlimited, and Rare Essence adapted Chuck Brown & The Soul Searchers’ percussion patterns to create their own distinct sounds.

Eventually, go-go morphed into different subgenres, which include bounce beat for the younger set and “grown ‘n’ sexy” for a more mature demographic. But go-go still lacks the national profile it deserves. And here at home, due to inveterate racism, classism, and plain old ignorance, the music has been blamed intermittently for street violence that has been wholly unrelated to go-go itself.

Despite go-go’s enormous popularity, the

city’s institutions have remained ambivalent about the music. Case in point: The only media outlets covering Team Familiar’s Nigerian journey—an important cultural news story— were WUSA9 and The Washington Informer.

Unfazed, the band have relied on social media to keep fans informed.

Floyd had previously traveled to Africa. His mother, a civil rights activist, took him to Senegal after his high school graduation, and he later returned with his own three sons. “Visiting Africa is one of the most incredible experiences you can go through as a black man living in America,” he says.

This time, he was rubbing shoulders with royalty. “I don’t know what I thought before about kings, queens, royalty and all that, but this was some kind of unbelievable,” says Floyd. “I don’t want to sound ignorant, but this guy was like Coming to America—he really is a king.”

The Ooni of Ife, revered by more than 40 million people worldwide, made himself available for several audiences with the band, opportunities for both cross-cultural communication and inspiration. “He spoke about the importance of what we do as musicians and of trying to use music in a way of curing some of the world’s ugliness,” says Floyd. “He also went on to say that there’s not much difference between us and him. Our forefathers were captured and put on the boat, and his forefathers were not, but at the end of the day, we’re all the same people. That’s the message that’s mostly lost on us here in the U.S., but it’s never lost on them.”

Team Familiar are the leading band in the

Milton “Go-Go Mickey” Freeman in a session with local drummers in Ife, Nigeria washingtoncitypaper.com january 19, 2018 13

Longtime go-go advocate Charles Stephenson is certain that the music’s African journeys will give it a greater sense of purpose.

“All along, Mickey was instinctively playing those beats. Now he goes to go to West Africa, the home of the beats, and he’s sitting together with the conga players there and making that connection,” he says. “There’s no way the music will be the same because now these musicians truly understand the connection between what they play and Africa.”

Stephenson hopes that the go-go artists visiting Africa will be inspired by the political outspokenness of some of its musical artists. “In Nigeria and beyond, Fela became the messenger… he used his platform to educate and move people,” he says. “What has often been missing from go-go is social relevance.The music could have much more social impact, and that’s even more important in the face of gentrification and other issues. They need to put those messages out there.”

The Ooni of Ife presents an award to Donnell Floyd.

For the longest time—years, really—a tall Backyard fan with full locks and a resolute vibe kept talking to Big G about taking Backyard to Africa. “Diallo always had this big idea, that he was gonna take Backyard to Africa and get a bunch of things done,” says Big G. “When people say stuff, sometimes grown ‘n’ sexy scene, playing R&B selections over thumping go-go grooves. While planning the palace performance, Floyd selected go-gofied versions of Adele’s “Hello” and Mali Music’s “Beautiful,” as well as “King of the GoGo Beat,” a go-go hit he originally recorded while with Rare Essence. “A lot of times with go-go in these special situations, the bands get conservative, but I didn’t think that laying back would show the difference between go-go and R&B or anything else,” says Floyd. “So we went full-throttle.”

Team Familiar’s star percussionist, GoGo Mickey, describes Nigeria as “a beautiful, humbling experience,” but was nonetheless undaunted by the prospect of matching skills with local conga players. “When I sat down with them … it was easy for me to jump right in,” he says. “The African feel is one of those things, either you have it or you don’t.”

Still, Go-Go Mickey was impressed by the skills of his Nigerian counterparts, and he marvels at how they tuned their congas with rocks instead of the wrenches typically used on this side of the world. “They do everything by hand,” he says. “They take nothing for granted.”

News of Team Familiar’s trip has echoed throughout the larger D.C.-area AfricanAmerican arts community. Melvin Deal, who calls go-go “a New World African music,” is a cultural anthropologist and performer with a specialty in African dance and music. “It was critical for this group to go back to Nigeria,” he says. “People might say but they weren’t there yet, but they were; they were not physically there, but they were spiritually there. This trip’s coming together of the ancient and the contemporary shows that cultures don’t die.

They are sublimated, but they don’t die.”

Backyard Band in Ghana

14 january 19, 2018 washingtoncitypaper.com

they just say it. But as we got older, he got more serious about it. He was like, ‘Man, I’m in a position where I’m gonna build this thing up. I’m gonna make this happen.’”

In many ways, Diallo Sumbry is the kind of take-charge visionary that can help recharge go-go as it moves into its fifth decade. He was born and raised in Trenton, but his family moved to D.C. when he was 14, settling in with what he describes as an “African-centered community.”

By the early ’90s he had fallen in love with go-go, especially Backyard and the Northeast Groovers. Enterprising even then, he supported his four-shows-a-week habit by raking leaves, shoveling snow, and cleaning garages.

A generation behind bands like Rare Essence and Experience Unlimited—and currently the top band on the circuit—Backyard brings a hardcore rap-influenced sound to gogo, appealing to younger audiences and usual-

D.C.”—and a visit to the mountainous Akuapem region, where they will be received by a local queen and announce an as-yet-unspecified donation to the community.

“Chuck would have been so ecstatic right now, to see two of his sons going to Africa because me and D Floyd both used to be on stage with him,” says Big G. “He was always telling me, ‘You gotta keep the music going. You gotta take the music overseas.’”

In both Nigeria and Ghana, go-go has found allies eager to open new markets for the music. “If you look at go-go’s African roots and you look at the beat, it should go international,” says Ghana Tourism Authority CEO Akwasi Agyeman. “We believe that Ghana can offer another launch pad for the music to be exposed to the world.”

In Ife, the king asked Team Familiar to write a song commemorating its African pilgrimage; he has promised to ensure that the song be-

“Team Familiar is playing music that feels like real African music.

When they are coming here to play, they are coming home.” ly playing at least four local shows a week. Big G, its charismatic frontman, aka “Gingus” and “The Ghetto Prince,” is also an accomplished actor who has appeared in The Wire, The Deuce, and 12 Years a Slave.

One night, at a Backyard show at WUST Radio Music Hall, Sumbry experienced a kind of epiphany. “Every time Back plays ‘Comin’ Thru,’ the go-go goes crazy,” he says. “That night, I looked around and was like, yo, this is tribal music. The drums are encapsulating everybody’s warrior spirit, and I’m in the middle of a mosh pit full of a whole bunch of misguided warriors. That’s why we’re fighting each other—because our spirits are being awoken, and we don’t know what to do with this energy.

I could see this as a young man then, because of how I grew up and how I was educated.”

From that night on, the notion of taking Backyard to Africa became Diallo’s passion.

DNA testing company African Ancestry was an early sponsor; its co-founder Gina Paige introduced Sumbry to the Ghana Tourism Authority, which is offering logistics and production support. In November of last year, Sumbry, Big G, and others traveled to Ghana for a series of meetings, site checks, and radio appearances. It was the Backyard leader’s first trip to Africa.

“It was just a beautiful experience,” says Big G. “It was nothing like I thought Africa would be. Once I got to engage with the people, I could see what they have to offer—and also what we have to bring, because there’s a lot of kids over there that’s really suffering.”

Backyard’s upcoming Ghana tour will feature three performances, including one at the popular Labadi Beach—which Sumbry describes as “what Hains Point used to be in

comes a hit in Nigeria and beyond. Festival coordinator Williams is planning a Nigerian tour for Team Familiar, pairing the band with local stars later this year Sumbry would love to see go-go thrive in Africa, but he also hopes to achieve something more with “Back2Africa”—to change the way some African-Americans view Africa. “We still have this Tarzanian mentality about Africans living in huts,” he says. “Taking Backyard back to Africa is going to help educate people and open their minds to accept Africa and African culture, which can help them find some healing. Having that cultural and historical and ancestral pride can serve as a foundation to help solve some of the problems we have with our young people.”

Backyard’s first performance in Ghana will take place at Cape Coast Castle, the fortress where millions of enslaved Africans were imprisoned before being shipped out to endure the cruelty of the Middle Passage and New World slavery.

“Planning this trip was something that my ancestors were compelling me to do; this was a gift to them,” says Sumbry. “The one thing that I could do to repay them for their sacrifices was to bring a go-go band which has a resilience of its own.”

For Backyard congas and timbales player Keith “Sauce” Robinson, performing at Cape Coast Castle may be the most emotional moment of the entire journey. “I might even break down crying, just thinking of all the things that we’ve been through as a people and a culture, and we still here,” he says. “We never once gave up on our music, not even through slavery. For us, music has always been an outlet for positivity.”

CP

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Natural Gas Leaks/Emergencies: Call 911 and 703-750-1400.

washingtoncitypaper.com january 19, 2018 15

Darrow Montgomery/File

DCFEED

D.C. is getting a second location of philanthropic falafel shop Falafel Inc. The first location in Georgetown donated enough money through 2017 to provide 25,000 refugee meals. The next restaurant will debut at The Wharf in early summer.

Profit and Sauce

Pulling back the curtain on food costs in D.C. reveals some restaurants are more like magicians than money-making machines.

Baan Thai 1326 14th St. NW The dish: Kanom jeen nahm phrik with Thai thin rice noodles, coconut milk, peanuts, ground chicken, ground shrimp, red onions, garlic, tempura watercress, chili powder ($15) Healy calculated how fixed costs factor in to how much Baan Thai makes off of this rice noodle dish. “Everything I make costs me about $6 to put on someone’s table,” he says. To arrive at that number he took the total cost of what it took to run the restaurant in December, not including food ingredients, and divided it by the total number of dishes and drinks sold that month.

“One of the biggest misconceptions is that

Laura Hayes

Baan Thai Vermicelli

By Laura Hayes Kanom jeen nahm phriK was the most popular dish at Baan Thai this past December. But Tom Healy, a partner in the northern Thai restaurant on 14th Street NW, wishes it wasn’t. The rice noodle dish with shrimp, chicken, and tempura watercress only makes the restaurant 71 cents. “This is one of our more extensive production dishes,” he explains. “I’d like to sell the cheaper dishes.”

The inclusion of shrimp increases the cost, especially in December, when the price of America’s favorite crustacean can skyrocket because of the abundance of shrimp cocktails served at hol-

Young & hungrY

iday parties. The food cost percentage for the kanom jeen nahm phrik is about 50 percent compared to the restaurant’s many chicken dishes that come in closer to 30 percent.

A dish’s food cost percentage is calculated by dividing the per-portion cost of ingredients by the price the restaurant sells it for on the menu—the lower the food cost percentage, the more money the restaurant makes. For example, if a sandwich’s ingredients cost $1 and the restaurant sells it for $4, the food cost percentage is 25 percent.

But food cost is only one part of calculating a restaurant’s bottom line. Operators must also shell out for labor, rent, utilities, and other fixed costs that quickly add up. Because of razor-thin profit margins, especially in a high-

16 january 19, 2018 washingtoncitypaper.com

cost city like D.C., running a successful restaurant can seem more like a magic trick than a money-making enterprise.

Alcohol has long been the panacea for making up the difference. “Liquor is everything,” Healy says. “The best thing you can do for a restaurant is order a vodka soda.” Baan Thai marks up rail liquor as much as 1,428 percent to make ends meet.

To better understand how much restaurants make off meals, Young & Hungry asked five local eateries to break down food costs for popular dishes. Baan Thai offered a complete cost breadown for one dish, while the other four restaurants sent spreadsheets with ingedient costs, but talked about labor and other fixed food costs in interviews.

$15

Item

Cost

Noodles

$0.60

Coconut milk

$0.63

Shrimp

$3.66

Chicken

$1.20

Peanuts

$0.19

Garlic

$0.40

Watercress

$0.60

Tempura batter

$0.21

Assorted spices

$0.09

Labor

$1.79

Rent

$1.29

Other dept. labor

$1.10

Manager salaries

$0.82

Insurance

$0.44

General supplies

$0.13

General repairs

$0.08

Linen service

$0.08

Trash service

$0.08

Property tax

$0.02

Miscellaneous

$0.44

Federal corp. taxes

$0.33

D.C. corp. taxes

$0.11

Total

$14.29

if the restaurant is full, you’re cranking money hand over fist,” he says. “You really have to have a place packed out seven days a week with a line before you start making huge numbers. We’re just a small business.”

Every choice the restaurant makes is profitdriven. When a couple asks to sit at a table set for four, Baan Thai staff decline. “We are waiting in the hopes that a four-top will come in,” Healy says. “We’re not trying to be rude—we need the money. Please take this slightly less awesome table so I can pay our employees tonight.” That’s also why the restaurant charges for substitutions.

Want shrimp instead of chicken? That’s $3 extra.

“Otherwise we take a loss,” Healy says.

“Obviously we are making money—we wouldn’t be doing it if we weren’t making money, but do not assume we’re millionaires,” he says. “We’re always a heartbeat away from not making money and that’s what drives us to be good at what we do.”

Tiger Fork 922 N St. NW The dish: Kowloon buns with dairy cow beef, ginger, and black vinegar ($10) It costs Tiger Fork $2.93 to make one order of Kowloon buns at a food cost percentage of 29 percent. Using a niche ingredient like dairy cow beef from Virginia increases the expense, but chef and partner Nathan Beauchamp says it’s worth it. “We use dairy cow meat because the flavor is more reminiscent of what you’d find in Asia—it’s what local beef tastes like in Hong Kong.”

Beauchamp also priced out how much labor it takes to make one order of buns. “Each bun takes three minutes to make and since there are two per order it requires six minutes to complete the dish,” he says. “That’s $1.40 of labor per plate based off a person making $14 per hour.”

Tiger Fork is a Hong Kong-inspired restaurant and some diners associate Cantonese food with affordability. “We sometimes struggle with this,” Beauchamp says. Diners will say they can go to suburban Virginia and get Chinese food for much cheaper. “We’re not saying you can’t,” Beauchamp says, “but it’s mostly families that are working in those restaurants and the labor is free.”

In addition to Tiger Fork, Beauchamp helped open Calico and Primrose in 2017. They’re all in operation now, but the restaurateur recognizes how easy it is for new businesses to fail. “Food cost and labor cost are the two things you have to manage and if they get out of whack, absolutely it can make your restaurant fail fairly quickly.”

Tiger Fork Kowloon buns $10 Item

Cost

bun dough

$0.14

4 dairy cow meatball

$2.55

2 oz dipping sauce

$0.24

Total

$2.93

Centrolina 974 Palmer Alley NW The dish: L’Inverno with warm roasted vegetables and garlicky bagna cauda ($14) To determine how much Centrolina makes off of its plate of roasted vegetables served with a side of savory bagna cauda sauce made from anchovies and garlic, chef and owner Amy Brandwein calculated how much she pays local farms per pound for various vegetables, and then how many ounces of the vegetables she uses in a single order.

“We’re making about $9 off of it before labor and everything,” Brandwein says. That’s 36 percent food cost. “It’s a misconception that vegetables are cheap.”

In previous jobs, Brandwein was pressured to keep food cost closer to 20 percent.

“It was unattainable,” she says. “It was very hard to manage like that not in a fast food atmosphere.” At Centrolina, she says she could try to get down to 28 percent but it would be difficult.

Brandwein pegs the cost of labor at $1.85 per L’Inverno order but notes other factors that cause Centrolina’s food cost to creep up. “We serve bread and olive oil and there’s no charge for that,” Brandwein says. “That’s not cheap.”

The restaurant spends $550 per week on bread service. “In an Italian restaurant, people expect to have bread and oil and they get bent out of shape without it.”

Centrolina L’Inverno

$14

Item

Cost

3oz Jimmy Nardello pepper

$0.70

2.5oz Kabocha squash

$0.16

1 oz extra virgin olive oil

$0.28

2.5 oz shiitake mushroom

$1.38

3 oz baby carrots

$0.98

2 oz sweet potato

$0.19

2.5 oz beets

$0.63

2 oz delicata squash

$0.125

2.5 oz cauliflower

$0.25

2 oz bagna cauda sauce

$0.38

Total

$5.07

Alta Strada 465 K St. NW The dish: Fettuccine with wild mushrooms, truffle, and Parmigiano ($23) The cooks at Alta Strada make pasta in house daily using premium flour. The fettuccine costs the restaurant $5.81 to make, putting the food cost percentage at 25.25 percent. Chef Matt Adler, the culinary director of Schlow Restaurant Group’s Italian concepts, hammers home the point that profit

margins in restaurants are thinner than lasagna noodles.

“Even if you’re going to a restaurant and you’re paying $20 for pasta, it doesn’t mean the restaurant is profiting $10,” he says. “It’s probably profiting $1.50 if it’s a good restaurant. If you’re running a 20 percent profit at a restaurant, you’re killing it.”

As far as labor goes, Adler notes the restaurant pays people to order the ingredients, receive and store the food, prep the food, cook the food, serve the food, clean the plates, and supervise all of these activities. The D.C. minimum wage is currently $12.50 an hour.

“We pay between $12.50 and $17.50 depending on the position,” he says. “Therefore, the total labor cost for producing this dish is around $8.25. The cost of the ingredients, plus the cost of labor means it takes $14.06 to make the fettuccine. That leaves Alta Strada $8.94 to cover things like rent, cleaning supplies, insurance, taxes, unemployment, workers comp insurance, employee benefits, advertising, trash removal, repairs, utilities, and credit card processing fees.

Adler explains that the Italian restaurants in Michael Schlow’s portfolio shoot for a slightly lower food cost because the labor cost is higher due to the effort it takes to roll fresh pasta and knead pizza dough. He’s already preparing for increases in D.C.’s minimum wage, which will reach $15 in 2020.

“The liberal side of me wants everybody to make all the money they can and support their families, but the part of me that has to operate a business knows how much it costs to pay people and you have to run a successful business otherwise people don’t have a job,” Adler says.

Alta Strada pasta

$23

Item

Cost

4 oz mixed wild mushrooms

$3.60

00 flour

$0.12

2 egg yolks

$0.32

4 oz cream

$0.40

2 oz grana padano

$0.72

.1 oz truffle oil

$0.13

1.5 oz butter

$0.27

.56 bu parsely

$0.06

1 oz olive oil

$0.19

Total

$5.81

Bub and Pop’s 1815 M St. NW The dish: Bub’s Italian Hoagie with Genoa salami, prosciutto, capicola, pepperoni, aged provolone, arugula, Roma tomatoes, hoagie relish, mayo, Bub’s vinaigrette, and pecorino Romano ($18 for a whole)

One of Bub and Pop’s best-known sandwiches isn’t doing the Philly-inspired deli any favors. The food cost percentage on the fullsize Italian hoagie is 30 percent. “We price according to what kind of profit we want to make,” says chef and co-owner Jon Taub. “We have a general idea on our total formula to run the restaurant. We don’t want our food cost to be over 25 percent.”

To stay in the black, Taub has made profit-driven decisions, including ceasing production of the restaurant’s addictive potato chips. “If Le Diplomate made those chips in a bistro environment, they’d sell them for $12 with the dip it comes with,” he says. “I’m selling the same bag for $2 and only making five cents. It requires a skilled cook to make them, so it got to the point where it wasn’t worth it.”

Two years ago Bub and Pop’s upped its prices by about $2 per sandwich and customers recoiled. “One guy said he was going to boycott us,” Taub recounts. “The minimum wage just went up, all cooks have to go up.” Minimum wage increases have ripple effects. If a dishwasher makes $15 per hour, for example, a restaurant must pay its more experienced employees even more.

Taub says his mom, Bub and Pop’s coowner Arlene Wagner, typed up a letter to the disgruntled customer explaining the rationale behind the price hike. “You want everybody to come in and enjoy your stuff but you have to know what you’re getting into and if you don’t like it, don’t patronize the business,” Taub says. “I don’t roll into a Bentley lot and say, ‘Dude, I can’t afford this shit.’”

Bub & Pops Whole Italian Hoagie

$18

Item

Cost

bread

$0.60

2 oz mayo

$0.14

3 oz provolone cheese

$0.75

2.5 oz Genoa

$0.87

1.1 oz pepperoni

$0.44

2.2 oz cap (hot)

$0.57

2.6 oz cap (sweet)

$0.65

.6 oz prosciutto

$0.30

2 oz relish

$0.14

1 oz arugula

$0.41

2 oz tomato

$0.41

1 oz vinaigrette

$0.06

.25 oz pecorino

$0.09

Total

$5.43

Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncity paper.com.

washingtoncitypaper.com january 19, 2018 17

EXPLORE Brand New HilariouS moving revolutionarY GRIPPING UNFORGETTABLE

Plays Written By Women

JANUARY 15 – FEBRUARY 15 WomensVoicesTheaterFestival.org @WOMENSVOICESTHEATERFESTIVAL

Allison Janney Honorary Chair

@WOMENSVOICESDC

FESTIVAL SPONSORS: Lead donors Heidi and Mitch Dupler. Additional funding for the Festival comes from Share Fund, Arlene & Robert Kogod, Andrew Rodger Ammerman in tribute to Josephine Friedman Ammerman, and The Morris & Gwendolyn Cafritz Foundation.

This project is supported in part by an award from the National Endowment for the Arts.

OFFICIAL TICKETING PARTNER

MEDIA SPONSORS

Photography or artwork by Philip da Costa, Teresa Castracane, Gregory Ferrand, Max Garner, Mike Laws, Leo Lintang, Katelyn Manfre, Cade Martin, Goni Montez, Christopher Mueller, Laura Mertens and Justin Schneider. Pictured: Felicia Curry.

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

Jazz straight from NYC

Spirited evening of music and dance!

DUBLIN IRISH DANCE Stepping Out SATURDAY, JANUARY 27 AT 8 P.M.

ff

This performance is also at the Hylton Performing Arts Center on Sun., Jan. 28 at 2 p.m. Information at HyltonCenter.org

THE BIRDLAND ALL-STARS Featuring Tommy Igoe SUNDAY, JANUARY 28 AT 7 P.M.

All-male comic dance phenomenon

LES BALLETS TROCKADERO DE MONTE CARLO FRIDAY, FEBRUARY 2 AT 8 P.M. ff

TICKETS 888-945-2468 OR CFA.GMU.EDU 18 january 19, 2018 washingtoncitypaper.com

ON TI SA CKE LE TS NO W

!

Cherished orchestral works

HELSINGBORG SYMPHONY ORCHESTRA Stefan Solyom, conductor Nareh Arghamanyan, piano FRIDAY, FEBRUARY 9 AT 8 P.M.

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

Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.

CPArts

Local record label Etxe Records celebrates 10 years with a new album from duo Silo Halo. washingtoncitypaper.com/arts

Full Disclosure It’s All True, a new experimental opera by the Brooklyn-based performance group Object Collection, is about much more than Fugazi.

Henrik Beck

There’s no story or narrative in It’s All True; writer and director Kara Feely calls it a “sort of collage of material that knows no time or space.” She says that the performance, which features four vocal performers and a musical ensemble composed of four guitarists and two p e rc u s s i o n i s t s , is structured into sections “that are just centered on a theme or idea that was brought up repeatedly in the concerts.”

During their time, Fugazi—who went on an “indefinite hiatus” in 2002—were known as a fiercely political band, often performing benefit and protest shows opposing the Iraq War, police brutality, and a host of similar social justice issues. And they were known for being quite vocal about these issues when put in front of microphones.

Feely and composer Travis Just combed through more than 1,500 hours of the Fugazi Live Archives to cull the best of those incidental moments for their piece. “I tried to gravitate toward … anti-Iraq War protests, or things that that Fugazi would routinely bring up in concert,” Feely says, “issues that would resurface a bunch, like the way the audience was behaving, or violence that was happening, people being aggressive during concerts, or women’s rights.”

During its 100-minute runtime, the four performers— Catrin-Lloyd Bollard, Avi Glickstein, Daniel Allen Nelson, and Deborah Wallace—deliver speeches and diatribes originally delivered by Fugazi’s Ian MacKaye and Guy Picciotto in bursts of frenetic, convulsive cadence. In one section, one of the performers recites a MacKaye monologue about chronic homelessness, and in another section, another performer recites a speech from an infamous Fort Reno concert in which Picciotto calls out an unruly audience member for being an “ice cream-eating motherfucker.”

By Matt Cohen If there’s one local band whose music has inspired experimentation of the most forward-thinking caliber, it’s Fugazi. Remember Wugazi, the surprisingly fluid 2011 mashup album of Fugazi cuts and Wu Tang Clan’s Enter the Wu-Tang (36 Chambers)? Or Chris Lawhorn’s Fugazi Edits, in which the artist edited multiple Fugazi tracks together to create entirely new songs? Or Drew O’Doherty’s mesmerizing “I Spent It All,” which stretches the last note from the band’s last show ever into an eight-and-a-half-minute drone epic. The point being: Fugazi inspire some truly wild shit.

Enter It’s All True, an “opera-in-suspension” by the Brooklynbased performance group Object Collection based, at least in part, on Fugazi’s comprehensive Live Archives series.

It’s hard to say what It’s All True is, exactly. It’s an experimental opera, but there’s no set story or narrative. It’s a performance piece based not just on the band’s Live Archive series—which contains the recordings of every show they played between 1987 and 2002—but more specifically, of the stage banter and incidental sounds in between the songs: Tunings, noodling, feedback, speeches, calling out hecklers and clowns in the audience.

“The whole piece is just kind of lifted a bit in the air and never really settles,” Feely says. “There’s a lot of it that feels kind of repetitive, it comes back, it repeats in different variations. It feels, in a way, kind of cyclical and moving, but always kind of containing this explosive energy but never really having a full-on climax, and never really releasing any of that tension.” for feely and Just, It’s All True was nothing short of a labor of love. Originally conceived in 2014, the piece took about a year to put together. Feely says it was a “multi-stage process,” the first of which involved going through the entirety of the Fugazi Live Archive, “skipping through the songs and sort of finding the in-between stuff.”

After logging all the moments they thought could be used, Feely put together a script that encompassed the dialogue and moments she felt best worked thematically. Just then set out on the arduous task of developing a score.

It’s one of the more striking aspects of It’s All True, setting a frantic, anxious pace that lands somewhere between improvised free jazz and bursts of feedback and distortion. It hardly sounds like something performed from musical notation, but that’s exactly what Just did.

“Out of the 1,500 hours, I then made audio snippets of all the material that I wanted to use,” Just says of his process.

“Then I made these collages in Logic Pro. Stack, like, 10 of these on top of each other, cut them all up, moved them all around. I knew I wanted to have an ensemble play it. It’s fully notated, but I had no idea [at the time] how I was going to do this. It was all so insane and there was so much of it that I had to write it down so we could actually get through it and stay together. But I knew the musicians that were going to play it—they all have experience. They can play notated stuff, but they’re all also improvisors.”

The concept of It’s All True seems like something conceived by the most diehard Fugazi fans, but both Feely and Just don’t consider themselves such. “I would say [I’m] a definite fan,” Feely says, “but I wouldn’t say I’m a diehard.”

Like Feely, Just feels a particular reverence for the band, but doesn’t consider himself a fanatic by any means. As a teenager, he was a saxophonist that mostly devoured free jazz records.

Still, “Fugazi was always a band that, to me as a musician, I always listened to,” he says. “Even when I was, like, totally 100 percent Sun Ra, I would also have my Fugazi records out. They never got put away the way that other stuff I listened to when I was a kid did. It never went away. Because musically, they’re so fucking dope. It’s not just the stuff they sing about.”

And while both express a great amount of respect for the band, who gave their approval for the opera, they’re adamant in expressing that It’s All True isn’t about Fugazi. Rather, it’s sort of an extension of a lot of the ideas the band represented.

“I think, generally, it circles around a couple of thematic ideas,” Just says. “The primary one being the intersection of art and social justice and activism. The piece that we tried to make, and the ideas that we’re engaging with, are not 20 yearold-ideas that are of a time and a place. Police brutality doesn’t go away. A militaristic country does not go away. These ideas are a permanent factor.”

CP Object Collection performs “It’s All True” on Saturday, Jan. 27 at Rock & Roll Hotel. 1353 H St. NE. 8 p.m. $20. washingtoncitypaper.com january 19, 2018 19

A COMEDY OF MANNERS… WITH NO MANNERS AT ALL

FilmShort SubjectS

A NEW COMEDY WRITTEN AND DIRECTED BY

THERESA REBECK

NOW ON STAGE THROUGH FEB. 11 Featuring Tony Award nominee

and hilarious satir e” — T

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“Ridic

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KRISTINE NIELSEN

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War Horses 12 Strong: The Declassified True Story of the Horse Soldiers

202.544.7077 | folger.edu/theatre | 18-FT-0008-CityPaper.indd 1

Directed by Nicolai Fuglsig 1/8/18 12:46 PM

Chained dogs suffer day in and day out. They endure sweltering temperatures, hunger, and thirst and are vulnerable and lonely.

Keep them inside, where it’s safe and comfortable.

Photo: Don Flood (donfloodphoto.com) • Makeup: Mylah Morales, for Celestine Agency Hair: Marcia Hamilton, for Margaret Maldonado Agency • Styling: Natalie and Giolliosa Fuller (sisterstyling.com)

20 january 19, 2018 washingtoncitypaper.com

Each January brings a new year, a fresh start, and a 21st century war movie. The trend started with Zero Dark Thirty in 2013, and continued in subsequent years with Lone Survivor, American Sniper, and 13 Hours, each of which went into wide release in the year’s first month.

The release date implies a cynical counterprogramming strategy. While “coastal elites” catch up on Oscar hopefuls, distributors hope “real Americans” will flood the multiplexes to have their patriotism reaffirmed by stories of military heroism.

When these films succeed, however, it is due to their strong craft and not their politics.

A good war film applies a thoughtful, often critical eye to both the men and their mission.

12 Strong: The Declassified True Story of the Horse Soldiers does neither. It’s a pure, concentrated rush of war propaganda that robs its true story of every scrap of nuance and poeticism.

Every character is an unconditional hero, and every utterance is a cliche. The battle scenes are somehow boring, and most damaging, the film fails to provide any real sense of stakes.

For a war film, that’s death.

What’s most confounding about this failed project is why so many worthy actors decided to enlist. Chris Hemsworth plays Captain Mitch Nelson, who heads a special forces team assigned to the first post-9/11 mission in Afghanistan.The goal is to take control of a Taliban city, an assignment his commander describes as “near-suicide.” But the film never bothers to convince us of either its danger or strategic importance. Instead, the earnest desire of Nel-

son’s men—played by Michael Peña, Michael Shannon, and a cadre of bearded white guys— to fight back is foregrounded, while the pesky details of plot, drama, and characterization take a backseat. These men are so eager to strike back after 9/11 that neither they nor the film take the time to really understand the mission.

Nothing that follows is a surprise, except for how few surprises there are. The mission has its predictable setbacks and eventual victories. Even the film’s primary hook—these soldiers ride horses—is wasted. The team basically rides the horses to the battle, where they hop off them and fight. The lack of equine excitement could be due to the new scrutiny on animal welfare in films. With animal rights activists empowered and ready to protest at any hint of abuse on sets, maybe the makers of 12 Strong felt hamstrung. Or maybe there wasn’t enough imagination among the filmmakers to figure out a way to make them interesting.

But you wouldn’t need fighting horses if the film cared the slightest bit about its human characters. Each soldier is given at most a single personality trait, and each one is broader than the last. Hemsworth’s character is inexperienced in combat. Shannon is old. Pena is horny. One of the other guys has glasses. Beyond that, there is nothing to distinguish them from each other, no chance of seeing them as anything more than symbols of American heroism.

To be generous, we could say that veteran screenwriters Ted Tally (The Silence of the Lambs) and Peter Craig (The Town) intended them to be interchangeable. If you squint, you could see that the film is showing how soldiers sacrifice their individual personalities to create a cohesive unit.

Even so, its impact on the film is devastating.

When the bullets, rockets, and bombs start flying, none of it seems to matter, and it doesn’t help that the battle scenes, as staged by rookie direc-

tor Nicolai Fuglsig, are basically incomprehensible anyway.

As it plays out over the course of the film’s excessive 130 minute runtime, we know who we want to win, but we don’t know why. We’re rooting for an idea instead of people. That’s the basis for military sacrifice, but it’s the antithesis of drama, which makes 12 Strong not just a shoddy film but also piss-poor propaganda.

—Noah Gittell 12 Strong: The Declassified True Story of the Horse Soldiers opens Friday in theaters everywhere.

the material is of car wrecks. But every once in a while there’s a clip that’s confounding, usually involving law enforcement or guys who look an awful lot like law enforcement. Action takes place quickly, making it difficult to orient yourself. Watching these, if you give up on trying to figure out what’s what, quickly becomes boring, and captured audio such as “Fuck. Why are there such assholes?” doesn’t do much to help. (One thing that is obvious, however, is that nearly every owner of the dash cams included here has a love of f-bombs.)

The car crashes, often sensational, will quicken your pulse and make you wish Kalashnikov included slow-motion replays. But even they stay gasp-inducing for only so long.

The director first presents leisurely footage of wrecks along with the dash-cam witnesses’ comments in the aftermath, but later he’ll do a montage, and still later return to the post-crash commentaries. Jack-knifing semis and rolling cars all look the same after a while, and serious accidents—eliciting witness questions such as “Are they alive?”—will appeal to only the more gore-seeking rubberneckers out there.

The film also offers scenes of road rage, spectacular wildfires, a pointless police chase, a duck hitting a windshield, and random weirdness throughout its clearly padded 67 minutes.

Robert Battle, Artistic Director

Masazumi Chaya, Associate Artistic Director prOgrAM C thu., Feb. 8 at 7:30 p.m.

Sat., Feb. 10 at 1:30 p.m.

prOgrAM A tue., Feb. 6 at 7 p.m.

Fri., Feb. 9 at 7:30 p.m.

Sat., Feb. 10 at 7:30 p.m.

The Golden Section (Twyla Tharp) Members Don’t Get Weary (Jamar Roberts)* In/Side (Robert Battle; Feb. 9 & 10 only) Revelations (Alvin Ailey)

CrasH and Burn The Road Movie

Directed by Dmitrii Kalashnikov Dash cams, for the most part, seem to be used for two purposes: as tools to give authorities a visual record of incidents such as accidents and confrontations, and as toys for knuckleheads hoping to film something crazy enough to get their footage on Tosh.0.

The Road Movie is devoted to the latter. Exclusively comprising video and audio from dash cams in Russia, Dmitrii Kalashnikov’s film segues from one clip to the next, outside commentary unnecessary—most of the time. The bulk of

Whereas dash cams are regulated if not outright forbidden in the U.S., it’s said that nearly every driver in Russia has one. What’s the allure? If you’ve ever gaped at something gone horribly wrong, you know the most fundamental answer; many of these ‘cammers stay at the scene much longer than they have to, repeating the same words of astonishment as a passenger invariably begs them to go.

Derelict law enforcement and slack handling of collision cases are allegedly bigger reasons for mounting the cameras. There’s no question, however, that filmgoers who put cash down for The Road Movie will be motivated by the former.

And it’s likely that they themselves will eventually be saying, “Fuck. Why are there such assholes?”

—Tricia Olszewski The Road Movie opens Friday at West End Cinema.

Mass (Robert Battle) Ella Shelter (Jawole Willa Jo Zollar) The Hunt (Robert Battle) Revelations *D.C. premiere Programming subject to change.

prOgrAM b Wed., Feb. 7 at 7:30 p.m.

Sun., Feb. 11 at 1:30 p.m.

Stack-Up (Talley Beatty) Victoria (Gustavo Ramírez Sansano)* Ella (Robert Battle) Revelations

ExpLOrE tHE ArtS Feb. 10 matinee Free post-performance discussion Feb. 10 at 5:30 p.m.

Free Revelations workshop on the Millennium Stage

FEbruAry 6–11, 2018 | OpErA HOuSE tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

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

The Millennium Stage is brought to you by

Michael Jackson Jr., photo by Andrew Eccles

washingtoncitypaper.com january 19, 2018 21

TheaTerCurtain Calls DC’s Healthy Butcher

FEATURING: FREE RANGE GREEN CIRCLE CHICKEN

We Proudly Feature: Roseda Beef, Berkshire Pork, Benton’s Bacon

- Locally Grown - Sustainably produced - Hormone free - Antibiotic free - Pastured animals

Visit us at UNION MARKET 1309 5th Street NE, Washington DC Hours of Operation: Tues. - Sun. ~ 8am - 8pm

202-544-0400

HarveysMarketDC.com | Email: Harveysmarket@verizon.net Like us on Harvey’s Market

JOIN US!

A Discussion and Book Signing with Bestselling Novelist Robert Harris January 22, 2018 • 2 PM National Churchill Library and Center at the George Washington University 2130 H ST NW • Washington, DC 20052

Robert Harris is the author of Munich, a new thriller based on the fateful 1938 conference between Neville Chamberlain and Adolf Hitler, and many other bestselling novels, including the Cicero Trilogy, Conclave, and An Officer and a Spy. Mr. Harris will also discuss the current state of Brexit.

The event is free and open to the public.

FOGGY BOTTOM METRO

Happy New Year!

The Tradition Continues Champagne B runch Weekends Unlimited Champagne by the Glass Saturdays – A-La-Carte $29.95 Sunday – Buffet $38.95 Voted 2017 “TOP TEN” Best Brunches ***

Nightly “S teak Dinner” $18.95 Caesar or House Salad, 10oz. NY Steak and Fries ***

Under $10 - Daily Lunch Specials

Choice of Entrées, Pastas, Salads or Burgers ***

Happy Hour $3-$4-$5-$6-$7

Appetizers, Martinis & Drinks - 4PM-7PM ***

Restaurant Week Jan. 22-31*, 2018 “Enhanced and Extended*” Wine Flight Included with Dinner To Compliment Your Appetizer, Entrée and Dessert Choice Unique Spaces and Menus For Social Events 17th & Rhode Island Ave. NW 202-872-1126 www.BBGWDC.com

22 january 19, 2018 washingtoncitypaper.com

worldly pleasures The Way of the World

Adapted from the play by William Congreve Written and directed by Theresa Rebeck At the Folger Theatre to Feb. 11 “These women are smarter than they look,” proclaims the brash, flamboyant know-it-all Charles (Brandon Espinoza) midway through Theresa Rebeck’s adaptation of William Congreve’s Restoration comedy The Way of the World.

He delivers the line with a sense of surprise when he realizes that the female characters have outmaneuvered their male counterparts, but the sentiment holds true throughout the play. As the male characters trip over themselves in search of sex and money, the women reveal that they, in fact, hold the power in most situations. It’s an appropriate theme for the Women’s Voices Theater Festival, which celebrates the work of tenacious female playwrights from around the world.

Though the play has its origins in 18th century England, Rebeck’s version is set in The Hamptons in the 21st century. There we meet a group of twenty-somethings so rich they don’t have to work, and instead entertain themselves by throwing parties, attending gallery openings, and swapping sexual partners. Mae (Eliza Huberth) has the most money of all of them—a cool $600 million, the origins of which the audience never learns—but wants to give it all away to support infrastructure improvements in Haiti. She’s on the outs with her caddish beau Henry (Luigi Sottile), a habitual skirt and money chaser, because he slept with her aunt and guardian, Rene (Kristine Nielsen). Her friends try to cheer her up and encourage her to stop thinking about Henry and start thinking about spending her money on ostentatious things.

All the while, these so-called friends are having their own trysts with Henry.

In this context Mae becomes a sympathetic character, the one rich person on Long Island who isn’t content with the repeated drink-shopparty cycle, an adaptation of Jersey Shore’s gymtan-laundry for the one percent. But though she

pines for Henry, whom she really seems to love, and leafs through books about Haiti, her lack of follow-through is puzzling. Has her unstable family life made her afraid of venturing out on her own, or does the lingering possibility of a relationship keep her in place? Midway through the second act, you’re tempted to shake her by the shoulders and point her toward the nearest exit while reminding her that she’s so much better than the aimless crew she hangs around with.

Mae’s indictment of the uber-rich doesn’t quite stick, nor does Rene’s theory—she says that the rich support the poor by employing them. The character with the best insight into how the other half lives is the waitress (Ashley Austin Morris), who works six jobs. But when she directly addresses the audience, she spills the less flattering details of the wealthy clientele she serves with humor and a touch of worldweariness.

Creating that bright and breezy world in a theater covered in wood and stone is no small task, but when hit with some blue lights, Alexander Dodge’s central structure looks like an oceanfront mansion. The cubbies on the twolevel structure are filled with the too-expensiveto-be-tacky items a bored rich person might buy—china figurines, jewel-encrusted broaches, and eccentric hats. Linda Cho’s similarly eccentric costumes combine Restoration-era shapes and contemporary preppy styling, giving the audience further insight into the ways the characters carry themselves. They’re also just fun to look at, so bring out more of them— aren’t these people obsessed with shopping?

Thematically, it’s clear that Rebeck wants her adaptation to focus on the struggle between the haves and the have-nots. That idea comes through, but what makes the play fascinating is the relationships between the characters and the ways they abuse the people they love. Their desires, both long-term and temporary, are wrapped up in other individuals, something you don’t typically see in a comedy that includes regular uproarious laughter. It’s this balance of light and dark that allows The Way of the World, after 317 years, to still have a place in our world.

—Caroline Jones 201 East Capitol St. SE. $35—$79.

(202) 544-7077. folger.edu.

CITYLIST

thh

NEW MUSIC VENUE

NOW OPEN DISTRICT WHARF

DINER & BAR OPEN LATE!

Music 23 Theater 29 Film 30

CITY LIGHTS: FRIDAY

JANUARY CONCERTS F JAN 19 JONNY GRAVE w/ NAH SA 20 DAN BERN w/ JACKSON EDWARDS SU 21 CHARLIE MARS w/ SEAN HOLLORAN F 26 JUSTIN TRAWICK w/ JOSH RD AND LAURA LOVE & THE JUNIOR BRYCE BAND SA 27 RUTHIE AND THE WRANGLERS w/ KENTUCKY AVENUE FEBRUARY CONCERTS F FEB 2 BLACK MASALA w/ SWIFT TECHNIQUE SA 3 ERIC SCOTT & JONATHAN SLOANE W7 GRAND PRIZE WINNING LOCAL SONGWRITER CIRCLE BEN MASON•KIPYN MARTIN•TONY DENIKOS F9 AZTEC SUN w/ THE JOGO PROJECT SA 10 ALL GOOD PRESENTS: THE LIL’ SMOKIES TU 13

JOIN THE SECOND LINE: FAT TUESDAY PARTY AT PEARL ST. WAREHOUSE!

THE GRANDSONS

FREE SHOW AFTER WHARF PARADE & FIREWORKS

PARALLEL UNIVERSE

Since last June, the L’Enfant Plaza installation space ARTECHOUSE has been a reliable source for dazzling interactive digital art. Turkish art studio Ouchhh ups the ante with a selection of four immersive installations projected on the venue’s 24-feet high walls. Taking their inspiration from the Pyramids of Giza, the constellation Orion, and complex mathematics, the works provide a cinematic spectacle that is the 21st century equivalent of the liquid light shows of the psychedelic ’60s. Not recommended for those with a history of epilepsy, Parallel Universe is a storm of whirling light beams and fractals. Evening admission provides a potable spectacle to supplement the stunning visuals: Augmented reality cocktails will be served, and with the help of an app (and drinks made with chacha, the Georgian pomace brandy), will really send you into another dimension. The exhibition is on view to March 4 at ARTECHOUSE, 1238 Maryland Ave. SW. $15. artechouse.com.

—Pat Padua

Music FRIDAY CoUNtRY Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Junior Brown. 7:30 p.m. $25. birchmere.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. LOCASH. 8 p.m. Sold out. fillmoresilverspring.com.

DJ NIghtS U Street mUSic hall 1115 U St. NW. (202) 588-1889.

Fleetmac Wood. 10:30 p.m. $10. ustreetmusichall.com.

ELECtRoNIC ten tigerS parloUr 3813 Georgia Ave. NW. (202) 506-2080. Matt Lange. 10 p.m. $15. tentigersdc.com.

FUNk & R&B Kennedy center concert hall 2700 F St. NW. (202) 467-4600. Babyface. 8 p.m. $24–$119. kennedy-center.org.

JAzz

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Joey DeFrancesco. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

Kennedy center terrace gallery 2700 F St. NW. (202) 467-4600. Louis Hayes. 7 p.m.; 9 p.m. $26–$39. kennedy-center.org.

W 14 TH 15 F 16 SA 17

THE EMPTY POCKETS ROBERT LIGHTHOUSE THE PLATE SCRAPERS & COLEBROOK ROAD SURPRISE ATTACK w/ SAUCE

F 23

AMERICAN IDOL WINNER

SA 24

DAVID COOK

THE JAMES HUNTER SIX

w/ 3 MAN SOUL MACHINE

MARCH CONCERTS F2 SA 3 F9 SA 10 TU 13 W 14 F 16

THE MIGHTY PINES NO SECOND TROY w/ TOMMY GANN BUMPIN UGLIES w/ DUB CITY RENEGADES & JOINT OPERATION CRYS MATTHEWS w/ ECHO BLOOM FY5 SHERMAN EWING w/ SPECIAL GUEST JOHN JO JO HERMAN AN EVENING WITH

GRANT LEE PHILLIPS & KRISTIN HERSH THE FABULOUS THUNDERBIRDS FEAT. KIM WILSON

PoP

W 21

RoCk

TICKETS ON SALE!

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

Yacht. 9 p.m. $15. rockandrollhoteldc.com.

9:30 clUB 815 V St. NW. (202) 265-0930. BoomBox. 8 p.m. $20. 930.com.

BarnS at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. The Verve Pipe. 8 p.m. $24. wolftrap.org.

pearlstreetwarehouse.com

washingtoncitypaper.com january 19, 2018 23

CITY LIGHTS: SAtURDAY

KC JAZZ CLUB

ALL PERFORMANCES AT 7 & 9 P.M. IN THE TERRACE GALLERY

LOUIS HAYES, SERENADE FOR HORACE FRI. & SAT, JANUARY 19 & 20 Louis Hayes presents a tribute to Horace Silver, the bandleader who first introduced him to the jazz world through recordings with Blue Note Records.

D I S C O V E RY A RT I S T

ARCOIRIS SANDOVAL’S SONIC ASYLUM QUINTET S AT. , F E B R U A RY 3 Pianist, composer, and educator ArcoIris Sandoval returns to the Kennedy Center with her quintet Sonic Asylum.

ERIC HARLAND, VOYAGER F R I . , F E B R U A RY 9 Drummer Eric Harland returns to the Kennedy Center with his band Voyager to showcase their “continuously inventive and artful” style (Buffalo News).

gUILt

Leaders have debated whether Catholic priests should have to remain celibate or at least unmarried for decades. And while it’s true that you probably don’t want your spiritual leader worrying about their love life while listening to your confession, everyone deserves some companionship, especially if the Bible tells husbands to love their spouses as Christ loved the church.

The priest at the center of Guilt, a world premiere play currently being produced by Scena Theatre, takes his desire a bit too far. Grandier, a 17th century French priest has trysts with many nuns, and when they fall in love with him, church leaders naturally assume he’s a witch and burn him at the stake. When those who loved him begin to deal with the consequences of killing an innocent man, they—and the audiences watching them—are forced to weigh how religion and rules can get out of control. The lessons they learn resonate beyond the 17th century, as viewers may find connections to contemporary times in the scenes. The play runs to Feb. 4 at Atlas Performing Arts Center, 1333 H St. NE. $15–$45. (202) 399-7993. scenatheatre.org.

—Caroline Jones

pearl Street WarehoUSe 33 Pearl Street SW. (202) 380-9620. Jonny Grave. 8:30 p.m. $10. pearlstreetwarehouse.com.

WoRLD Kennedy center millenniUm Stage 2700 F St. NW. (202) 467-4600. Turquoise Lake. 6 p.m. Free. kennedy-center.org.

SAtURDAY ELECtRoNIC

U Street mUSic hall 1115 U St. NW. (202) 588-1889.

Oliver Nelson. 10:30 p.m. $12. ustreetmusichall.com.

FoLk

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

BarnS at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. Lucy Kaplansky. 8 p.m. $26–$28. wolftrap.org.

JAzz

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Joey DeFrancesco. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

Kennedy center terrace gallery 2700 F St. NW. (202) 467-4600. Louis Hayes. 7 p.m.; 9 p.m. $26–$39. kennedy-center.org.

PoP

U Street mUSic hall 1115 U St. NW. (202) 588-1889.

Alex Aiono. 7 p.m. $20. ustreetmusichall.com.

RoCk

9:30 clUB 815 V St. NW. (202) 265-0930. The Infamous Stringdusters. 7 p.m. $25. 930.com. pearl Street WarehoUSe 33 Pearl Street SW. (202) 380-9620. Dan Bern. 8:30 p.m. $18. pearlstreetwarehouse.com.

VoCAL

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rufus Wainwright. 7:30 p.m. $89.50. birchmere.com.

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

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Milky Chance. 8 p.m. Sold out. fillmoresilverspring.com.

Discovery Artists in the KC Jazz Club are supported by The William N. Cafritz Jazz Initiative and The King-White Family Foundation and Dr. J. Douglas White.

FUNk & R&B

SUNDAY

Kennedy center concert hall 2700 F St. NW. (202) 467-4600. Babyface. 8 p.m. $24–$119. kennedy-center.org.

anderSon hoUSe mUSeUm oF the Society oF the cincinnati 2118 Massachusetts Ave., NW. (202)

Tickets also available at the Box Office. Groups call (202) 416-8400.

Support for Jazz at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

24 january 19, 2018 washingtoncitypaper.com

CLASSICAL

THIS WEEK’S SHOWS ALL GOOD PRESENTS

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

BoomBox w/ Of Tomorrow ............................................................................. F 19 ALL GOOD PRESENTS

The Infamous Stringdusters w/ Dangermuffin ..................................... Sa 20 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

MØ & Cashmere Cat w/ Darius ................................................................. Tu 23 JANUARY

FEBRUARY (cont.)

Tennis w/ Overcoats ..................W 24 Big Head Todd & The Monsters w/ Luther Dickinson ..................Th 25 Frankie Ballard .......................F 26

STRFKR w/ Reptaliens .............Sa 17

STEEZ PROMO PRESENTS

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

Greensky Bluegrass w/ Billy Strings Attendance included with purchase of

tickets to 2/3 Greensky Bluegrass @ The Anthem ..................................F 2

STEEZ PROMO PRESENTS

Emancipator Ensemble ......Sa 3 J. Roddy Walston and The Business w/ Post Animal ..........Th 8 White Ford Bronco: DC’s All-90s Band .......................F 9 COIN w/ The Aces ......................Sa 10 Múm ..........................................Su 11 Sleigh Bells w/ Sunflower Bean ......................W 14 U STREET MUSIC HALL PRESENTS

Matoma w/ Elephante & Youngr .............Th 15 ZZ Ward w/ Black Pistol Fire

& Billy Raffoul ..............................F 16

U STREET MUSIC HALL PRESENTS

Ganja White Night w/ Dirt Monkey & Subtronics ....Su 18 The Oh Hellos w/ Lowland Hum .........................W 21 U STREET MUSIC HALL PRESENTS

Lane 8 w/ Enamour .................Th 22

Sugarland

• For full lineups and more info, visit merriweathermusic.com • 930.com

Lincoln Theatre • 1215 U Street, NW Washington, D.C.

Railroad Earth w/ Roosevelt Coliler .......F 23 & Sa 24 Rhye ...........................................M 26 Lights w/ Chase Atlantic & DCF .Tu 27

FIRST NIGHT SOLD OUT! SECOND

MARCH

ALL GOOD PRESENTS

Kelela .........................................Th 1 Galactic (F 2 - w/ Butcher Brown) .... F 2 & Sa 3 Hippie Sabotage w/ Melvv & Olivia Noelle ..............Su 4 LP w/ Noah Kahan .........................M 5 Orchestral Manoeuvres in the Dark w/ GGOOLLDD ......Tu 6 Cornelius ....................................W 7 Beth Ditto w/ SSION ................Sa 10

w/ Brandy Clark & Clare Bowen ...... SAT JULY 14

On Sale Friday, July 19 at 10am

ALL GOOD PRESENTS

THIS SUNDAY! NIGHT ADDED!

AEG PRESENTS

Bianca Del Rio ...................... MAR 15

STORY DISTRICT’S

Top Shelf

.......... JAN 21

PostSecret: The Show ...... MAR 24 Rob Bell w/ Peter Rollins .......... MAR 27

The Wood Brothers

w/ The Stray Birds ................... JAN 26 & 27 STORY DISTRICT’S

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

Sucker For Love ................... FEB 10 Calexico w/ Ryley Walker ............APR 27 Dixie Dregs (Complete Original Lineup Robyn Hitchcock with Steve Morse, Rod Morgenstein, and His L.A. Squires Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7

w/ Tristen .......................................APR 28

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

ALL GOOD PRESENTS

J Boog w/ Jesse Royal & Etana .............Su 11 K.Flay w/ Yungblud ...................M 12 I’m With Her w/ Andrew Combs (Sara Watkins, Sarah Jarosz, Aoife O’Donovan) ....................Tu 13

Mason Bates’s Mercury Soul ........................Th 15 Nils Frahm ................................F 16

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

930.com

The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Cuco + Helado Negro w/ Lido Pimienta ............................Tu JAN 23 Flint Eastwood w/ NYDGE ..............F FEB 2 Anna Meredith ................................... Sa 3 Why? w/ Open Mike Eagle ........................F 9 Anti-Flag & Stray From The Path .. Sa 10 Wylder w/ Virginia Man ....................... Sa 17 MAGIC GIANT w/ The Brevet .............. Su 18 MAKO w/ Night Lights .......................... Sa 24 Gabrielle Aplin w/ John Splithoff ...... Su 25 Sevdaliza ........................................... Tu 27

• Buy advance tickets at the 9:30 Club box office • 930.com

TICKETS for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office.

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

Missio w/ Welshly Arms ...................F MAR 2 Ella Vos w/ Freya Ridings ....................... M 5 Amy Shark .......................................... M 12 The Hunna & Coasts ....................... Sa 17 The Strypes ......................................... F 23 The Marmozets ................................ Sa 24 Vinyl Theatre & Vesperteen ......... Su 25 Hollie Cook ......................................... M 26 Digitalism ........................................... W 28 Fujiya & Miyagi ........................... Su APR 1

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

930.com washingtoncitypaper.com january 19, 2018 25

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

DONNA the BUFFALO W/ WOODY PINES FRIDAY JAN

19

and

TOWN MOUNTAIN

JAY STARLING

& FRIENDS FEAT. DANNY KNICELY

SATURDAY JAN

20

SUN, JAN 21

HOWIE DAY W/ BRIAN JARVIS FRI, JAN 26

THE SIBLING RIVALRY TOUR

HANNAH WICKLUND & THE STEPPIN STONES AND THE HIGH DIVERS SAT, JAN 27

JON CLEARY TUES, JAN 30

AMERICAN FOLK ON TOUR

JOE PURDY & AMBER RUBARTH WED, JAN 31

G. LOVE & SPECIAL SAUCE W/ THE RIES BROTHERS FRI, FEB 2

YARN

SAT, FEB 3

THE POSIES (DUO) W/ PARTHENON HUXLEY TUES, FEB 6

DOCTOR DREAD & WALLY KINGS PRESENT

A CELEBRATION OF THE BIRTHDAY OF BOB MARLEY FEAT. SISTER CAROL

W/ CARL MALCOM POSITIVE VIBRATION BAND WED, FEB 7

NATHAN & THE ZYDECO CHA-CHA’S FRI, FEB 9

AN EVENING WITH

AZTEC TWO STEP SAT, FEB 10

NEWMYER FLYER PRESENTS

LOVE SONGS: THE BEATLES VOL. 5

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

Tix @ Ticketmaster.com 800-745-3000

ERIC BENET 19 JUNIOR BROWN Lucy Wainwright 20 RUFUS WAINWRIGHT Roche 21 MAC McANALLY 22&23 GAELIC STORM 25 THE VENTURES 26& 27 RICKY SKAGGS & KENTUCKY THUNDER Allen Feb 1 TODD SNIDER (Solo)Thompson Jan 18

2

In the

!

COREY SMITH Shingleton 3 MAYSA 5

George

A Very Intimate Evening with

Pat Benatar & Neil Giraldo 6&7 TOMMY EMMANUEL CGP with special guest

9

RODNEY CROWELL

BURLESQUE-A-PADES

In Loveland! featuring Angie Pontani & much more! Hosted by Murray Hill!

WILL DOWNING CARLA BRUNI

11 13 14

An Evening with

DREW & ELLIE HOLCOMB L 15 PHIL VASSAR H 16 ERIC ROBERSON 17&18 ARLO GUTHRIE exie ayden

Re:Generation Tour 2018 w/Arlo, Abe & Sarah Lee Guthrie

THE S.O.S. BAND 20 THE ASSOCIATION 22&23 JEFFREY OSBORNE 24 HARMONY SWEEPSTAKES 19

A Capella Festival

KEIKO MATSUI 26 ANA TIJOUX presents 25

Roja y Negro

LALAH HATHAWAY THE HONESTLY TOUR

Fri. Jan. 26, 8pm

Warner Theatre, Wash DC. NEW ALBUM

THEHAMILTONDC.COM

CITY LIGHTS: SUNDAY

AVAILABLE NOVEMBER 3RD - PRE-ORDER AVAILABLE NOW @LALAHHATHAWAY @L A L AINHYOUR A TCITY. H ACONTEST W A YDETAILS AT LALAHHATHAWAY.COM WIN THE CHANCE TO OPEN FOR LALAH HATHAWAY WIN THE CHANCE TO OPEN FOR LALAH HATHAWAY IN YOUR CITY. CONTEST DETAILS AT LALAHHATHAWAY.COM TIX SALEFRI.NOW @ AT TICKETMASTER.COM/800-745-3000 TIXON ON SALE 10/27 10AM @ TICKETMASTER.COM/800-745-3000!

26 january 19, 2018 washingtoncitypaper.com

VERtIgo

Frequently cited as one of the greatest films ever made, nearly every aspect of Alfred Hitchcock’s masterpiece Vertigo was ahead of its time—and still feels fresh today. Jimmy Stewart stars as a detective with a crippling fear of heights who follows his friend’s troubled wife, played by Kim Novak, and becomes obsessed with her. When she tragically dies, he finds her doppelgänger (Novak, again) and, in one of cinema’s most sinister makeover montages, tries to remake her as the woman he lost. Hitchcock meticulously controlled every detail of production just as carefully as Stewart’s character crafts his dream woman. Everything, from Bernard Herrmann’s spine-tingling score to Saul Bass’ surreal title designs, is perfectly formulated to disorient and unsettle, to give the viewer vertigo. Densely layered with visual symbolism and shot with imaginative camera techniques and cinematography, including an animated dream sequence that puts Dumbo’s pink elephants to shame, it’s a treat to watch, and well worth seeing in the cozy confines of Mount Pleasant’s Suns Cinema. Vertigo screens at 7 p.m. at Suns Cinema, 3107 Mt. Pleasant St. NW. $5. sunscinema.com.

—Stephanie Rudig

785-2040. Goldmund Quartet. 4 p.m. $20–$40. phillipscollection.org.

BarnS at WolF trap 1635 Trap Road, Vienna. (703)

MoNDAY CLASSICAL

org.

Kennedy center millenniUm Stage 2700 F St. NW. (202) 467-4600. Peabody Pre-Conservatory Program. 6 p.m. Free. kennedy-center.org.

CoUNtRY

ELECtRoNIC

255-1900. Krakauer-Tagg Duo. 3 p.m. $40. wolftrap.

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Mac McAnally. 7:30 p.m. $39.50. birchmere.com.

JAzz BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Joey DeFrancesco. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

PoP the hamilton 600 14th St. NW. (202) 787-1000.

Howie Day. 7:30 p.m. $18.75–$39.75. thehamiltondc. com.

VoCAL pearl Street WarehoUSe 33 Pearl Street SW. (202) 380-9620. Charlie Mars. 8 p.m. $20. pearlstreetwarehouse.com.

9:30 clUB 815 V St. NW. (202) 265-0930. MØ & Cashmere Cat. 7 p.m. Sold out. 930.com.

FUNk & R&B

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Afi Soul. 8 p.m.; 10 p.m. $22. bluesalley.com.

WoRLD

Birchmere 3701 Mount Vernon Ave., Alexandria.

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

tUESDAY ELECtRoNIC

9:30 clUB 815 V St. NW. (202) 265-0930. MØ & Cashmere Cat. 7 p.m. $35. 930.com.

FoLk

Kennedy center millenniUm Stage 2700 F St. NW. (202) 467-4600. Becca Stevens. 6 p.m. Free. kennedy-center.org.

CITY LIGHTS: MoNDAY

MØ

Karen Marie Ørsted, known as MØ, dances like a carefree 4-year-old in her new music video for the joyous banger “Get It Right.” In it she pounds on a piano and pumps her fists in a way only a robot would know how to do, but it’s spellbinding. That’s the MØ spirit: boundlessly twirling and free to fill every space with joy. The Danish artist does it so well that the global pop community has hung onto her projects for the past couple of years. It’s that globalism that makes it seem easy enough to define MØ as simply a blonde electro-pop star. But what sets her apart is her ability to seem like she doesn’t care what people think of her dance moves or her emotive thrashing. Watching MØ on stage puts you in the safest space, one where the artist herself can be uninhibited, and so can you. MØ performs with Cashmere Cat and Darius at 7 p.m. at 9:30 Club, 815 V St. NW. Sold out. (202) 265-0930. 930.com.

—Jordan-Marie Smith

washingtoncitypaper.com january 19, 2018 27

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

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

CITY LIGHTS: tUESDAY

JA N UA RY

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+

JANUARY 18TH

COMEDY CENTRAL’S ALEX HOOPER PLUS COMEDYWARS DOORS AT 7PM

JANUARY 19TH

HAPPY NEWWEIRD!

PRESENTED BY DCWEIRDO SHOW DOORS AT 8PM

JANUARY 20TH

BEER DINNERAND COMEDY SHOW:

T 18 VANESSA COLLIER F 19 SUTTLE SU 21 THE LADIES OF RHYTHM & BLUES TU 23 IGOR BUTMAN QUINTET T 25 THE RON HOLLOWAY BAND AND REVELATOR HILL F 26 “INTO THE GREAT WIDE OPEN” TOM PETTY TRIBUTE SU 28 TRIBUTE TO MUSIC OF SMOKEY ROBINSON FEATURING SIXX SINGS BAND W 31 JOSÉ ANDRÉ MONTAÑO

F E B RUA RY

FARMTOTAPANDTABLE DINNER AT 7PM

T1

JANUARY 21ST

PRETTY BOI DRAG SHOW DOORS AT 2PM THE REAL INDIANAJONES PRESENTED BY PROFSAND PINTS

DOORS AT 6PM, LECTURE AT 7:00PM JANUARY 22ND

LAUGH BUZZ COMEDY DOORS AT 7PM TRIVIA NIGHT

F2 S3 SU 4 M5

AT 7:30PM

JANUARY 23RD

CAPITAL LAUGHS OPEN MIC COMEDY AT 8:30PM

JANUARY 24TH

TRIVIA NIGHT AT 7:30PM

JANUARY 25TH

COMEDY

TRIBUTE TO STEELY DAN FEATURING HEY NINETEEN JON B JOE CLAIR & FRIENDS COMEDY SHOW SUPER BOWL DRAG BRUNCH DC BLACK HISTORY MONTH CONCERT CELEBRATING DC MUSICIANS

JUST ANNOUNCED TUE & WED, JEFF BRADSHAW & FEB 13 & 14 FRIENDS “A LOVE SUPREME” W/ AVANT & MAIMOUNA YOUSSEF THU & FRI, FEB 15 & 16 THE SPINNERS BILLY OCEAN CELEBRATES BBJ’s 5TH ANNIVERSARY

JANUARY 28TH

WED & THURS, FEB 28 & MAR 1

BRUNCHANDVARIETY SHOW

SUN, MARCH 4

HAROLD MELVIN’S BLUE NOTES

PRESENTED BY HERRON ENTERTAINMENT

JIMAND DEHILA’S BREAKFAST CLUB: DOORS AT 12PM JANUARY 29TH

LAUGH BUZZ COMEDY DOORS AT 7PM TRIVIA NIGHT AT 7:30PM

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

HOSTED BY JOE CLAIR

(2 SHOWS 2/7:30PM)

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

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

28 january 19, 2018 washingtoncitypaper.com

MAJID JoRDAN

What’s the best way to have your EP fall into the hands of a superstar like Drake? For Canadian R&B duo Majid Jordan, they started from the bottom to propel their music careers forward.

Jordan Ullman and Majid Al Maskati met in 2011 at the University of Toronto. As Jordan provided the instrumentals, Majid provided the vocals while working between dorm rooms and their parents’ basements to launch their first EP, afterhours, on SoundCloud in 2012. The pair landed on Drake’s radar after that and have remained there, signing to his OVO Sound record label in 2013 and landing a feature on his smash “Hold On, We’re Going Home.” Since then, Majid Jordan have given contemporary R&B fans the music they want, releasing their refined second studio album The Space Between late last year. But no accomplishment will ever top the moment they really arrived, when they were no longer starting from the bottom but now truly here: working with the one and only Beyoncé on “Mine” from her self-titled album. Majid Jordan perform at 8 p.m. at the Lincoln Theatre, 1215 U St. NW. $35–$130. (202) 888-0050. thelincolndc.com.

—Mikala Williams

hIP-hoP

ELECtRoNIC

JAzz

FUNk & R&B

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

Majid Jordan. 8 p.m. $35–$130. thelincolndc.com.

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. John Kocur. 8 p.m.; 10 p.m. $22. bluesalley.com.

PoP

U Street mUSic hall 1115 U St. NW. (202) 588-1889.

Cuco. 7 p.m. $20. ustreetmusichall.com.

RoCk

dc9 1940 9th St. NW. (202) 483-5000. Sløtface. 8 p.m. $10–$12. dcnine.com.

FlaSh 645 Florida Ave. NW. (202) 827-8791. Toro Y Moi. 10 p.m. $20–$30. flashdc.com.

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Tyra Levone. 8 p.m.; 10 p.m. $22. bluesalley.com.

RoCk

9:30 clUB 815 V St. NW. (202) 265-0930. Tennis. 7 p.m. $20. 930.com.

thURSDAY

WoRLD

CoUNtRY

WEDNESDAY

ELECtRoNIC

Birchmere 3701 Mount Vernon Ave., Alexandria.

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

CLASSICAL

Kennedy center millenniUm Stage 2700 F St. NW. (202) 467-4600. Kennedy Center Opera House Orchestra. 6 p.m. Free. kennedy-center.org.

Kennedy center terrace theater 2700 F St. NW. (202) 467-4600. Calidore String Quartet. 7:30 p.m. $29. kennedy-center.org.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Chris Janson. 8 p.m. Sold out. fillmoresilverspring.com.

U Street mUSic hall 1115 U St. NW. (202) 588-1889.

Psymbionic. 10 p.m. $15. ustreetmusichall.com.

FUNk & R&B

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Ayers. 10 p.m. $50–$55. bluesalley.com.

SongByrd mUSic hoUSe and record caFe 2477 18th St. NW. (202) 450-2917. Eric Bellinger. 8 p.m. $18–$20. songbyrddc.com.

PoP

capital one arena 601 F St. NW. (202) 628-3200.

Lana Del Rey. 8 p.m. $39.50–$125. capitalonearena. monumentalsportsnetwork.com.

RoCk

9:30 clUB 815 V St. NW. (202) 265-0930. Big Head Todd & The Monsters. 6:30 p.m. $35. 930.com.

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Ventures. 7:30 p.m. $29.50. birchmere.com.

Theater

4,380 nightS Tackling what it means to be American, D.C, playwright Annalisa Dias delivers 4,380 Nights, a play about a man being held without charge at the Guantanamo Bay prison. A timely critique of fear, power, and humanity itself the play is presented as part of the 2018 Women’s Voices Theater Festival.

Signature Theatre. 4200 Campbell Ave., Arlington. To Feb. 18 $40–$65. (703) 820-9771. sigtheatre.org. everything iS illUminated Based on the bestselling novel by Jonathan Safran Foer, this stunning and hilarious stage adaptation tells the story of a young man — also named Jonathan Safran Foer — who sets out to find the woman who might or might not have saved his grandfather. Accompanied by an old man haunted by memories of the war,

an amorous dog named Sammy Davis, Jr. Jr., and a young Ukrainian translator who speaks in a sublimely butchered English, Jonathan takes a quixotic journey into an unexpected past, where reality collides with fiction in a heart-stopping scene of extraordinary power. A highly anticipated East Coast premiere.

Directed by Aaron Posner. Theater J. 1529 16th St. NW. To Feb. 4 $24–$69. (202) 777-3210. theaterj.org. gUilt The Scena Theatre presents this world premiere Robert McNamara-directed production about a charming, philandering priest named Urbain Grandier who stands accused of witchcraft and is ultimately condemned to be burned at the stake, based on historical events. From Australian writer John Shand, the play seeks to explore intolerance, xenophobia, and the power of persecution. Atlas Performing Arts Center. 1333 H St. NE. To Feb. 4 $15–$45. (202) 399-7993. atlasarts.org. the hUmanS Playwright Stephen Karam presents a humorous and heartbreaking look at a family whose deepest fears are laid bare for all to see. Taking place over the course of a Thanksgiving dinner, this one-act play takes the Blake family on a journey of self-discovery. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Jan. 28 $49–$139. (202) 467-4600. kennedy-center.org. on yoUr Feet! Tracing their journey from humble beginnings in Cuba to pop stardom, this musical explores how Emilio and Gloria Estefan broke barriers and lived through tragedy. Directed by two-time Tony Award winner Jerry Mitchell, this musical features the most iconic music the Estefans have to offer. Kennedy Center Opera House. 2700 F St. NW. To Jan. 28 $59–$149. (202) 467-4600. kennedy-center.org.

CITY LIGHTS: WEDNESDAY

ANNETTE BENING

JAMIE BELL

JULIE WALTERS

VANESSA REDGRAVE

“ONE OF THE YEAR’S BEST FILMS!” -Rex Reed, NEW YORK OBSERVER

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tENNIS

Some artists retreat to a quiet cabin in the mountains or a secluded studio space by the beach to create their next piece of work. Tennis, the husband and wife duo of Alaina Moore and Patrick Riley, prefer to take to the high seas. They sailed the Atlantic for their 2011 debut album, Cape Dory, and returned to the water again for their fourth full-length album, Yours Conditionally, as they sailed the Sea of Cortez off the coast of Mexico. They had no phone service, no Wi-Fi, and slept in two-hour shifts. “So it really felt lonely,” Moore told NPR. “I think it just did really interesting things to our psyche.” As a result, Yours Conditionally is a warm, ’70s pop-studded ode to all-consuming love, tender feminism, and the complexities of the creative self. Tennis perform with Overcoats at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

—Casey Embert washingtoncitypaper.com january 19, 2018 29

Puzzle

CITY LIGHTS: thURSDAY

STABILITY

By Brendan Emmett Quigley

Across

1 Mal de ___ 4 He was with Hillary 10 “That’s how it’s done, folks�

14 Game that nobody wins 15 Spain’s home 16 Chills out 17 Tie the knot 18 Stable folks?

20 Drummer Puente 22 Play for the camera 23 One with a raygun 24 Stable words?

28 Thermal opening?

29 Game tally: Abbr.

30 Third class?: Abbr.

33 Painting stands 36 Scheduled to arrive 37 Hand sanitizer alternative 38 Stable breakfast?

41 Game for horses 42 “Only Connect� channel 43 Whined aloud 44 It’s roughly at 1:00: Abbr.

45 “Just like to mention this,� initially 46 Education basics, briefly 47 Stable science?

53 Remove from the package 56 It’s a miner thing 57 TV actress ___ Rachel Wood 58 Stable smokes?

62 The night before 63 First subheading 64 Undergarment on the torso 65 Automatic For The People band 66 Puts down new turf 67 Iran-___ Affair 68 Subtle

Down

1 Weekday letters 2 Library singalong refrain 3 Event when things are priced to move 4 Takeaway game 5 First guest on My Next Guest Needs No Introduction with David Letterman

6 Show you’ve seen before 7 Spurs coach Popovich 8 Shoot (for) 9 His 11 was retired by the Rockets 10 Bibliography entry 11 Trendy berry 12 Story-changing word 13 Focused grp.

19 Clothes that need to be replaced 21 1976 Greatest Hits album that includes “Evil Woman�

25 Sit around 26 Superman catchphrase starter 27 Elite squad 30 Comic who said “Roman Polanski, in college, he didn’t have a major. He only had minors�

31 Alternative to a leafblower 32 Flew through 33 First Take channel 34 Many, many 35 Clairvoyant 36 Tom Perez’s org.

37 Hard to find 39 Last story?

40 Sushi veggie 45 Shrewd 47 Drinks at the movies 48 Grieve 49 Young’s partner in consulting 50 Hold back 51 Omphaloskeptic’s concern 52 The other side 53 Some Harpoon beers 54 Spanish boy 55 Ran over, as in publishing 59 Include in an email secretively 60 Bog room 61 Boarding place: Abbr.

LANA DEL REY

Over the summer, Lana Del Rey confessed to NME magazine that she had, in fact, implored her Twitter followers to pick up ingredients and perform witchcraft to get rid of Donald Trump. “Yeah, I did it. Why not? Look, I do a lot of shit,� she offered as explanation. With her constant reincarnations and endless streams of inspiration to pull from, Lana Del Rey is adept at throwing a lot of stuff together and ending up with a decent pastiche. Nostalgic Americana has always factored heavily into her work, but these days, she’s more inspired by the tumult of our current moment than biker chicks and Old Hollywood. Without getting too topical, her latest album Lust for Life reflected some of the melancholy that America’s political landscape currently presents, but also offered a new message for the songwriter: one of hope. She’s gone full Woodstock, adopting a flower child character, a folk rock sound, and a gentle rebuke of war and hatred. Lana’s still Lana, though. Who knows what kind of witchy shit she might try to pull when she’s in town and performing less than a mile from the White House? Lana Del Rey performs at 8 p.m. at Capital One Arena, 601 F St. NW. $39.50—$125. (202) 628-3200. capitalonearena.monumentalsportsnetwork.com. —Stephanie Rudig

LAST WEEK: PUT IT ON THE LINE ' 8 & 7

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30 january 19, 2018 washingtoncitypaper.com

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Film

12 Strong The first special forces team deployed to Afghanistan after 9/11 must work with warlords and resistance fighters to take down the Taliban. Starring Michael Shannon, Chris Hemsworth, and William Fichtner. (See washingtoncitypaper.com for venue information) the commUter Liam Neeson stars as a businessman who becomes entangled in a criminal conspiracy on his commute home from work. Co-starring Vera Farmiga and Patrick Wilson. (See washingtoncitypaper.com for venue information) den oF thieveS A group of outlaws plan a highly improbable heist on the Federal Reserve Bank in Los Angeles. Starring Gerard Butler, Oâ&#x20AC;&#x2122;Shea Jackson Jr., and Pablo Schreiber. (See washingtoncitypaper.com for venue information)

Film StarS donâ&#x20AC;&#x2122;t die in liverpool Jamie Bell stars as a young actor who sparks a romance with Hollywood legend Gloria Grahame. Co-starring Annette Bening and Julie Walters. (See washingtoncitypaper.com for venue information) hoStileS Christian Bale stars as an Army captain who, in 1892, reluctantly agrees to escort a Cheyenne chief and his family across dangerous territory. Costarring Wes Studi and Rosamund Pike. (See washingtoncitypaper.com for venue information) paddington 2 In this sequel to the hit Paddington, a thief steals Paddington Bearâ&#x20AC;&#x2122;s gift for his auntâ&#x20AC;&#x2122;s 100th birthday and he embarks on an epic journey to catch the culprit. Starring Ben Whishaw, Hugh Grant, and Hugh Bonneville. (See washingtoncitypaper.com for venue information) phantom thread A renowned dressmakerâ&#x20AC;&#x2122;s life is upended by a beautiful young girl who becomes his muse. Starring Daniel Day-Lewis, Vicky Krieps, and Lesley Manville. (See washingtoncitypaper.com for venue information)

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