Washington City Paper (January 27, 2017)

CITYPAPER Washington

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All former homicide detective Jim Trainum wants is for cops to change the way they do everything.

By Bill Myers Photographs by Darrow Montgomery

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All former homicide detective Jim Trainum wants is for cops to change the way they do everything.

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A Dim View: When D.C. officials boycotted the inaugural parade, were they thinking about District residents?

Savage Love

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Gear Prudence

d.C. feed 15 Just Deserts: With the absence of big groceries in Wards 7 and 8, feeding the food insecure is a team effort.

17 Sauce-0-Meter: How recent food happenings measure up 17 Veg Diner Monologues: A look at vegetarian dishes in the District that all should try.

This week: Woodward Table’s Roasted Red Beet Bourguignon 17 What’s in Stein’s Stein: Urban Craft Brewing Company’s Midnight Marauder Dark Sour Ale with Blackberries

21 Court Disorder: Arena Stage’s production of the landmark Roe v. Wade Supreme Court decision is as timely—and important—as ever.

22 Rogues’ Gallery: Shows at Flashpoint and Hamiltonian Gallery highlight queer artists and women of color, just in time for the dawn of the Trump era.

24 Short Subjects: Gittell on Toni Erdmann and Olszewski on The Red Turtle

City List 27 City Lights: Connie Britton speaks Tuesday at the National Museum of Natural History Baird Auditorium.

27 Music 31 Theater 32 Film

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CHATTER

Defending DIY

In which readers resist

Darrow MontgoMery

It’s been one of those periods when national politics has overwhelmed local everything in the District. First the city hosted Donald Trump’s inauguration, then nearly half a million people assembled for the Women’s March on Washington.

The nation may forget there’s a daily rhythm to life in D.C., but those who live here don’t. And they don’t take cover when the national events deluge their day-to-day existence either.

Readers responded with fear and anger to arts editor Matt Cohen’s piece about a spate of alt-right threats to the city’s underground music scene (“Undeterred By Threats From the Alt-Right, D.C.’s DIY Community Soldiers On,” Jan. 11). Citing a violence-endorsing comment reported in Cohen’s story, City Paper commenter ZeigerArts wrote: “Is this America?

Free expression granted to everyone? … All in Congress and Senate should look at this really hard because this thinking aims to hurt free citizens.” On Twitter, Moriah Costa wrote, “My fondest memories in D.C. are from the city’s DIY movement. I would hate to see them disappear.” But Ominous Pie cried foul, tweeting “Another #PizzaGate hit piece, claiming all investigators are ‘Alt-Right.’”

Speaking of pizza, four City Paper staffers collaborated on a list of womenowned D.C. restaurants for the benefit of Women’s March participants looking to eat in the spirit of the day (“Women’s Munch on Washington,” Jan. 11).

Both locals and visitors expressed their appreciation. The National Museum of Women in the Arts tweeted a link to the piece with the comment, “Don’t forget to eat!” Perhaps even more heartening, readers were quick to point out well-loved, women-owned eateries that weren’t on the list. “You should add @purplepatchdc!” @colleen_eliza wrote on Instagram.

“Definitely would love to be added. Woman/Filipino/Marine Corps Veteran Owned & Operated,” @purplepatchdc replied. City Paper had a limited amount of space for the print feature, but we were thrilled to see local customers and restaurateurs alike share their enthusiasm.

Finally, after both the Obama family and Ivanka Trump moved to Kalorama, reporter Andrew Giambrone wrote a piece entitled “Is Kalorama the New Georgetown?” (Jan. 11). City Paper readers, well equipped to deal with both politicians and yes-and-no questions, were quick to respond: “NO,” Curmudgeon Cat wrote. “Yes. Yes it is,” tweeted Norris Agnew. We’ll call it a draw—for now.

—Alexa Mills DuPONT CIrCle, JAN. 20

EDITORIAL

eDITOr: liz garrigan MANAGING eDITOr: alexa Mills ArTs eDITOr: Matt Cohen fOOD eDITOr: laura hayes CITy lIGhTs eDITOr: Caroline jones sTAff WrITer: andrew giaMbrone seNIOr WrITer: jeffrey anderson sTAff PhOTOGrAPher: darrow MontgoMery INTerACTIve NeWs DevelOPer: zaCh rausnitz CreATIve DIreCTOr: jandos rothstein ArT DIreCTOr: stephanie rudig COPy eDITOr/PrODuCTION AssIsTANT: will warren CONTrIbuTING WrITers: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, shaun Courtney, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, sarah anne hughes, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, Christine MaCdonald, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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ChIef exeCuTIve OffICer: Chris ferrell ChIef OPerATING OffICer: blair johnson ChIef fINANCIAl OffICer: bob Mahoney exeCuTIve vICe PresIDeNT: Mark bartel GrAPhIC DesIGNers: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

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DistrictLine A Dim View

Bill Clinton on D.C. affairs. He credits her, along with political analyst and commentator Mark Plotkin, with the federal government allowing the District government to return to the Wilson Building after it weathered the financial crisis of the 1990s. And while no one would claim that the occupants of 1600 Pennsylvania Ave. have ever done much for those of 1350 Pennsylvania Ave., Evans sees the value of an open line of communication with the resent the whole city. You gonna make a pro- White House.

“Clinton was engaged, [George W.] Bush test? Go to the event and protest.” Besides, Butler says, why poke the bear? “Personally, less so,” he says, with the caveat that in Bush’s second term, his chief of staff Josh Bolten, a I think the man can hold a grudge.”

Seeking a veteran perspective, LL paid D.C. native, was helpful in pushing through a visit to Ward 2 Councilmember Jack Ev- federal funding for a forensics center for the ans, who has seen seven inaugural parades District. “Obama was helpful in fending off roll past the Wilson Building, which is lo- Republicans in his first term and has supportcated in his ward. At-Large Councilmem- ed us on statehood, but with Trump, my hope ber Anita Bonds and Ward 4 Councilman is we can do something.”

Such as? “No one talks about the General Brandon Todd joined him in the viewing stand, and Evans also attended the swear- Services Agency and the National Park Sering-in ceremony at the invitation of the vice,” Evans says. “I texted Ivanka [Trump] mayor, who he says was treated like a gov- and said the [Trump] Hotel got done, but what ernor. “I like these things,” he says. “Some- about redevelopment of the FBI Building? If body’s gotta play that role, and I’m com- we can get the Park Service to program Pennsylvania Avenue it could be like the The parade viewing booth in front of Champs Elysee from the Newsethe Wilson Building um to the Trump Hotel on down to the Willard Hotel. I know Don Trump. The guy’s a builder. He could do that for us.”

But what about D.C.’s gun, right-to-die, and marijuana laws, which Republican lawmakers are vowing to roll back? Will the time come to communicate with Trump on those? “Yes, it will,” says Evans, who has talked with Mendelson about a strategy to protect D.C.’s interests. “My colleagues will have to be a part of this. We all have friends, and we have to appeal to them to not repeal our laws.” He mentions friends such as Congresswoman Nancy Pelosi but pauses when asked to name some GOP allies. “We’ll have to figure out who we know up there.”

So at least one of our councilmembers is thinking about the long game, which is good, because as LL understands it, President Trump has a long memory. That too, has its limits, Evans says. “Look, we’ve been here before, and we’ve outlasted them, and we’ll be here fortable doing it.”

In the larger scheme, Evans says the city cur- when they leave.”

CP rently lacks a true pipeline to the White House in the mold of Carol Thompson Cole—for- Got a tip for LL? Send suggestions to mer city administrator, White House liai- jeff.anderson@washingtoncitypaper.com. Or call son to D.C., and special adviser to President (202) 650-6925.

When D.C. officials boycotted the inaugural parade, were they thinking about the District’s interests?

The words of Frederick Douglass hung like poetry above the #DCStatehood logo on the viewing stand in front of the Wilson Building last Friday: “Power concedes nothing without demand. It never did, and it never will.”

How strange then to see Mayor Muriel Bowser and just three D.C. councilmembers in the $400,000 heated booth, bearing witness to the inauguration parade for President Donald Trump.

An ironic sentiment, it occurred to a shivering Loose Lips, who was struggling to comprehend the hollowness of such a boycott while imagining what retribution Trump might seek against the District in reaction to such a blatant snub.

Oh, they had their reasons, which ranged from principled to petulant. Ward 3 Councilmember Mary Cheh says she finds Trump’s behavior repulsive, especially toward women. AtLarge Councilmember Robert White says he didn’t want to condone Trump’s divisive politics. At-Large Councilmember David Grosso told The Washington Post that he didn’t want to indicate support for Trump. Instead, he left posters in his office windows that spelled out “DC PROTECTS HUMAN RIGHTS” in rainbow letters. That showed ’em.

Some really phoned it in—and by that LL means their rationalizations for not attending. Ward 7 Councilmember Vince Gray, who might’ve relished the opportunity to look “mayoral,” stayed home to work on legislation. Others simply got outta Dodge: At-Large Councilmembers Brianne Nadeau and Elissa Silverman and Ward 6 Councilmember Charles Allen chose family trips over Trump; Council Chairman Phil Mendelson found himself away on

Loose Lips

personal business and in meetings with government officials—in Mexico City.

Granted, the political dance between D.C.’s electeds and Trump and the GOP is just getting started, and it’s yet to be seen whether it’s a sideshow or the main event. Mayor Bowser’s supporters say striking the right balance with the new administration will be among her greatest challenges. She embraced that at Saturday’s Women’s March on Washington, sporting pink and standing tall on behalf of D.C.’s autonomy. Just this week she factchecked Trump on D.C.’s murder rate—down from last year—and told Congress to keep its hands off our laws.

But optics matter, and some D.C. residents

Jeffrey Anderson

By Jeffrey Anderson

took note. “They’ve gotta respect the office [of the president] and support the mayor,” says former ANC member and Ward 7 council candidate Gary Butler. “It’s a bad look for D.C. We’ve fought so hard for our civil rights.

You’ve got to participate. Grit your teeth. Rep-

washingtoncitypaper.com january 27, 2017 7

SAVAGELOVE

I am quite the follower on social media—Facebook and Twitter in particular. I make no trolling comments, no MAGA hashtags; I just look with my male gaze. Like Laura Mulvey says, the male gaze is only natural. I’ve lost interest in pornography, so I use everyday pictures of women, typically selfies. It helps me to know the story behind the face and body. None of these pics are pornographic—just feel-good selfies by young women posted on social media. I don’t communicate with these people, because that would be creepy. I’m not worried about whether this is abnormal. I just wondered if people would be OK with this if people were aware of behavior like mine when they post and if I should ask these girls for their permission to wank to their selfies —Not Anthony Weiner

There’s a difference between knowing some stranger might be wanking to your pics and hearing from one of those wanking strangers.

So long as you’re wanking alone, wanking with a reasonable expectation of privacy, and not bothering anyone who isn’t a sex partner or a sex-advice professional with your wanking, NAW, you can wank to whatever you’d like—except for images of child rape, aka “child pornography.”

You remind me of the proverbial shoe salesman with a foot fetish. (Full disclosure: proverb of mine, not a proverb of Proverbs.)

Let’s say a guy working in a high-end shoe store has an intense attraction to feet. Is it inappropriate for him to get an obvious boner while helping women try on shoes? Of course it is. It would also be inappropriate for him to drool or pant—and it would be super inappropriate of him to ask the women he’s serving if he can jack off about their feet after his shift. But if he can be completely professional, if he can go eight hours without giving off any signs of secret perving, that guy can (and probably should) sell shoes. And he’s free to upload mental images to his spank bank for later—we’re all free to do so, NAW, and it’s only creepy if the people whose images we’re uploading/repurposing are made aware that we’re uploading/repurposing them.

So in answer to your question, NAW, under no circumstances should you ask the girls whose selfies you’re wanking to for their permission. People who post revealing pictures to social media—men and women—know they run the risk of their pics being wanked to by random strangers. But there’s a difference between knowing some stranger might be wanking to your pics and hearing from one of those wanking strangers. Being asked by a wanker for permission to wank drags the social-media poster into the wanker’s fantasies—and not only is that creepy, NAW, it’s also no way to show your gratitude. If some stranger is going to make your day by posting a hot pic, why would you ruin theirs—or make them think twice about ever posting a revealing pic again—by telling them exactly what you’re doing while you gaze at their pics?

If you saw a woman on the street that you thought was hot, you wouldn’t stop her to ask if you could wank about her later. You would no more ask a stranger that question than you would flash your penis at her because, NAW, it would constitute sexual harassment.

(Promise me you wouldn’t do either of those things.) You would instead walk on by, minding your own business while discreetly filing her mental image away in your spank bank.

You should behave similarly on social media: Don’t harass, don’t send unsolicited dick pics, and don’t ask for permission to wank.

Finally, NAW, your question inspired me to read feminist film theorist Laura Mulvey’s 1975 essay “Visual Pleasure and Narrative Cinema,” in which she coined the phrase “male gaze.” Mulvey describes the male gaze as phallocentric, patriarchal, pervasive, and socially constructed—she never describes it as natural.

—Dan Savage

8 january 27, 2017 washingtoncitypaper.com

A problem has cropped up for me ever since the reports of Donald Trump’s pissing Russian hookers made the news. Every time someone on social media tries to make a comment about how disgusting that is, someone else jumps in and scolds that person for “kink shaming.” The problem for me is that by normalizing my piss fetish, you’re making it dull for me. Piss was one of the few things that even the kink community found disgusting. I now find myself looking for different porn because, eh, a lesbian pissing in the mouth of another lovely lady on a train platform? No big whoop anymore, it seems. My polyamorous boyfriend and I found each other without knowing we shared a love for piss. Neither of us had ever had someone to enjoy that with before. The one thing the piss porn I’ve been watching for half my life completely failed to capture is how goddamn amazing it is to embrace and make out with a person you love dearly while you’re both covered in each other’s piss. If you personally don’t want to kink shame, that’s fine. I get it. But everyone, please stop telling your friends not to kink shame so that my boyfriend and I can

get back to the business of pissing on each other and feeling disgusting about it and horny because of it.

—Pissed Off Slut Wife I have grappled with this same conundrum, POSW. If a kink is boner- or slicker-inducing to some precisely because it’s so transgressive and disgusting to most, efforts to normalize said kink—by shaming kink shamers, for instance—could piss away that kink’s power to induce all those boners and slickers. But I’m confident that the kink shamers will continue to have the upper hand for decades to come, despite the best efforts of the kink-shamer shamers. So your kink will continue to induce enough revulsion and disgust generally to keep you and your boyfriend feeling disgusting and horny in perpetuity.

—DS Listening to pundits discuss the president on the radio, I was inspired by your brilliant acronym (DTMFA) to yell, “Impeach the motherfucker already!” I’d love to see a line of bumper stickers and T-shirts bearing that sensible message: ITMFA! We need a shorthand for the obvious—think of the boost to productivity we’d get if we could cut half-hour conversations about the president to five simple letters: ITMFA! I appeal to you to bring this acronym into our everyday vocabular —Dumped My Motherfucker Already DEAR READERS: DMMA wrote me that letter in 2006. She wasn’t referring to Donald Trump, our current awful president, but to George W. Bush, our last truly awful president. I thought DMMA’s idea was great. I created a website (impeachthemotherfuckeralready.com), and I raised more than $20,000 selling ITMFA lapel pins and buttons. I donated half the money to the ACLU and the other half to two Democratic candidates for the US Senate. (My readers helped turf Rick Santorum out of office!)

I didn’t think I’d see a worse president than George W. Bush in my lifetime. But here we are.

So I’m bringing back my line of ITMFA buttons and adding T-shirts and, yes, hats to the ITMFA collection. Go to impeachthemotherfuckeralready.com or, if that’s too much typing, ITMFA.org to order some ITMFA swag for yourself or someone you love. All the money raised will be donated to the American Civil Liberties Union, Planned Parenthood, and the International Refugee Assistance Project.

We’re in for a long and ugly four years, folks.

Let’s raise some money for groups fighting Trump, let’s bring ITMFA back into our everyday vocabulary, and let’s remember that we— people who voted against Trump, people who want to see him out of office as quickly as possible—are the majority. ITMFA! —DS

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

Gear Prudence Gear Prudence: I’m trying to bike more in cold weather, and my current gear doesn’t cut it. I’m thinking about buying tights, but I’m a dude and have never bought or worn tights before.

Is there anything special about tights for biking that I need to know? Are they even worth it?

— Could Other Legwear Demonstrate Lasting Energy Gains, Satisfaction Dear COLDLEGS: They’re absolutely worth it and they will be a much appreciated addition to your winter cycling wardrobe. But there’s a difference between cycling tights and tights you can wear while biking. Cycling tights will likely be made of a technical material and have a chamois (the padded section on the crotch and butt). They’ll also cost a bunch of money and are meant to be worn in lieu of pants. If this isn’t your jam, the tights you want are thermal (or merino wool if you’re feeling splurgy). You wear them like long underwear and under other pants. There’s no padding on these either. Both kinds should fit snugly. They’re called tights after all.

—GP Gear Prudence: My fiance and I have been engaged for a few months now, and we’re starting to think about the gift registry now that we’re getting closer to the wedding. We’ve lived together for years and don’t need any more housewares.

It seems a little transactional to ask our guests to give us cash (even though that’s what we’d like).

The other day I thought of an idea: Could we register for bike gear? It’s a mutual passion, and we know we’d use it. Is this a thing?

—Genuinely Indifferent For Tableware Dear GIFT: Sure. Everything’s a thing. Some of your guests will derive much greater meaning from offering you a tangible gift rather than money, and GP is confident that your second cousin Doris would love for you to think of her each time your brand new derailleur smoothly shifts.

Your biggest hurdle isn’t going to be technological (lots of big retailers offer online registries where you can specify your bikey wants), but in convincing your loved ones to participate. Maybe second cousin Doris thinks every young couple needs a chafing dish and doesn’t care that you’d prefer upgraded disc brakes. How you do handle that?

Either convince your local bike shop to start carrying blenders or register for some boring stuff (in addition to cool bike stuff ) at a store that allows you to return these gifts for cash.

Yes, duping your friends and family is a key element here, so make sure you write down which of your uncool guests gave you the thing you didn’t want so you can tell them in the thank you note about the tragic, isolated electrical fire/garbage disposal incident that destroyed it before you could really enjoy it.

—GP

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washingtoncitypaper.com january 27, 2017 9

All former homicide detective Jim Trainum wants is for cops to change the way they do everything.

By Bill Myers Photographs by Darrow Montgomery

There are sTill days when Jim Trainum wishes he’d never given up his job as a fireman. “When you’re a firefighter, everyone’s glad to see you,” he says wistfully. “Even when people have lost their homes, they know you’ve tried your best.”

“When you’re a detective,” he says, “no one’s glad to see you. Either you’re here to tell them their son is dead, or you’re here to take their son away for a long, long time.”

Trainum retired from the force nearly a decade ago, but somehow people still aren’t glad to see him. This time, though, the people who aren’t glad to see him are his fellow cops.

For decades, first as one of D.C.’s top homicide investigators and now as a consultant, Trainum has pushed, pulled, and cajoled police departments to change the way they do business, from building computer databases to embracing modern science. He’s become one of the nation’s leading advocates for rethinking the way cops interrogate suspects.

Last year, he published a book entitled How

The Police Generate False Confessions.

He’ll be speaking at an upcoming conference in Minnesota, talking about interrogations of the mentally ill and disabled. He wants cops to think of themselves more as analysts and less as knight-errants.

“My job is not to represent the victim,” he says. “My job is to gather facts. What happens a lot of times is we lose sight of that. We think we know who the guilty party is, and we begin building evidence to ensure that we get a conviction, no matter what.”

Indeed, of the hundreds of innocent people who have been exonerated by DNA evidence over the past couple of decades, more than one-quarter of them had confessed in their cases, national statistics show.

Trainum spent nearly four decades in the District police department and worked many of its highest-profile cases: the Starbucks triple homicide, the Gallaudet serial killer, Chandra Levy. But it’s the one who should’ve gotten away who haunts him the most.

10 january 27, 2017 washingtoncitypaper.com

His lawyers will cut him from crotch to crown if he says anything more while an appeal to a now-dismissed civil suit is pending, but Trainum has told the tale before—and under oath: In 1994, a woman named Kim Crafton confessed during a police interrogation to helping in the kidnapping/robbery/killing of Lawrence O’Connell, a Voice of America employee.

Crafton spent months in jail until Trainum, checking the sign-in sheets at the homeless shelter where she was staying, discovered that she’d been miles from the crime when it occurred.

What bothers Trainum is not just the evil of putting an innocent person away but the banality of it. He and his comrades had simply done their jobs. They didn’t scream, they didn’t threaten, they merely asked. Yet, he realized later, in asking questions, they had inadvertently given Crafton information that— in every cop’s favorite phrase—“only a killer would know,” and she parroted those details

back to him and his colleagues.

If that was the consequence of going by the book, Trainum decided, the book would have to be rewritten.

It’s a tough sale. Flecked as it is with those whom Trainum ruefully calls “pieces of shit,” the Metropolitan Police Department has resisted improvement the way a cesspool resists Febreze. He’s slightly more sanguine about it now because working with other cities has taught him that D.C. is hardly novel. Most departments are slow to mend their ways—with or without their own special pieces of shit.

“There are only two things cops hate,” Trainum says, “the way things are—and change.”

At 61, Trainum is pale to the point of chalky, and sometimes the best that even the most loving summer sun can do for him is to make him look like an over-scrubbed turnip.

He’s got a lilting, Tidewater drawl, which occasionally grinds its gears over a stutter. He walks with a pigeon-toed gait: It all gives the

effect that you might be talking to D.C.’s most efficient librarian, not its most steely-eyed murder police.

But Trainum has been working violent crimes since he left that long-lamented job as an Arlington firefighter to become a D.C. cop in the early 1980s. He became a homicide detective in 1993, just as the crack wars had the District steeped so far in blood that it could wade no more.

“He was an amazing resource, not just in terms of his experience and his knowledge, but for his creativity,” says D.C. Auditor Kathy Patterson, who chaired the D.C. Council’s Judiciary Committee in the early 2000s and stumbled across Trainum while he was, as Patterson puts it, “trying to drag the D.C. police department into the current century.”

“One of the things that impressed me was his commitment to justice,” Patterson says, referring to Trainum’s open alliances with local innocence projects. “He was just exceptional.”

His colleagues certainly took exception. In his earliest days as a beat cop in Adams Morgan, Trainum’s fellows called him “Bran Muffin”—a jab at his wholesomeness.

They’ve since called him worse.

Trainum says he’d be lying if he claimed that the social isolation didn’t bother him.

But as he sees it, there’s no other choice.

“It’s the whole cultural thing. That’s the hardest thing to change,” he says. “You’re not out there as an advocate for anybody, and you’re not a military force. We’ve become occupational armies. And you can tell it in the uniforms we wear, the tactics that we use.”

If he’s made plenty of enemies—and in act two of his life he’s quickly earning more—Trainum has also made some important friends.

“He was one of the best investigators I ever saw,” says Lou Hennessy, a District Court judge in Charles County, Maryland, who was commander of D.C.’s homicide unit in the 1990s and the man to whom Crafton gave her false confession. “He’s in the top 1 percent of

investigators—not just in D.C. but in the country. He could handle the most complex cases without any supervision. But he’s not just a good investigator; he’s a good person.”

To this day, Hennessy has doubts about Trainum’s account of how cops get false confessions. “But I don’t argue with Trainum,” he says.

Born in richmond, Virginia, in the 1950s, Trainum could look up ads in the “colored housing” section of his local newspaper until he was in his teens. His dad George was a civil engineer for the utility company, and his mom Dorothy ran the household. Trainums had been in Virginia since the late 17th century but hadn’t amounted to much (“white trash,” Trainum likes to say). His parents were essentially conservative but had no truck with the ugly death rattle of Jim Crow, and somehow they managed to instill in their son a homespun sense of decency.

“My mother would say that she thinks ev-

erybody deserves a second chance,” he says.

“I look back at things in my life that could have gone a different way, if somebody had made different decisions for me. There are a thousand and one things that could have been nudged in just a little way, and my life would have been totally different. I’ve had a multitude of second chances. And I think most people have.”

While still in high school, he signed on as a volunteer with the local rescue squad. He was among the first in the country to cross-train as a fireman and an emergency medical technician, and Trainum was giddy. On one of his first calls, he found an older woman in her farmhouse who probably had been dead for hours, but he was so excited that he administered CPR even after her corpse spit its stomach contents into his mouth. Racing back to the ambulance to get his equipment, he forgot there were three steps on the porch and went ass-over-teakettle through the mud. His partner, older and wiser, called the time of

washingtoncitypaper.com january 27, 2017 11

death and spared Trainum further humiliation.

Even then, though, Trainum agitated for the new and the better.

“I was teaching classes,” he says.

“I started to take the mistakes I had made, and I would use them as teaching examples.”

Unhappy with the monstrous, steel utility boxes that paramedics had to shlep around, Trainum and his partner devised a nylon variant packed with just the essentials. The results were mixed. The new, improved kit was great for the work, but having dubbed it the “First Aid Grab-Bag,” Trainum and his partner were helpless when colleagues discovered the acronym they had inadvertently created. To this day, paramedics in the area jauntily carry their FAG Bags with them.

“I was always upset with the status quo,” Trainum says. “I’m sure I got suckered a few times by cutting-edge sales stuff, but I’ve always wanted things to work better.”

Trainum enjoyed his work as a firefighter/paramedic, but he’d grown up watching Adam-12 and Dragnet, and the air in Arlington was stultifying after his divorce.

The District was hiring cops by the truckload, and the appeal was too strong to avoid. He crossed the Potomac in 1983.

The pieces of shit were waiting for him. One of his training officers made his living—and shelves full of commendations—by rounding up prostitutes from 14th and L Streets NW, three at a time, bonding them out, and then galloping back to 14th for another cattle call.

Another spent his shifts gossiping at the Giant supermarket at 7th and O Streets NW without being dispatched to a single scene. The mystery of how he avoided work cleared up one night when the veteran took Trainum by the nearby Popeye’s, where chicken was free for cops. The veteran emerged with bags of the goop and dropped several pounds off to the dispatchers at the call center.

“I was ready to quit,” Trainum recalls. “But I had this mentor, a good cop, who took me under his wing, and he said, ‘Look, you just have to get through this. Get through it and then you can do it your way, the right way.’”

He stuck it out, and within a few years Trainum was assigned to D.C.’s much vaunted, much missed, Repeat Offender Project. Given that, even today, a few bad guys are responsible for most of the crime, the idea was to build cases against each wannabe Professor Moriarty slithering about the District. The unit would be featured on 60 Minutes for its approach, and Trainum found himself work-

ing all hours, undercover, busting up professional fencing rings.

The work was harrowing but exhilarating— while he was working undercover, he was once ordered into a basement by a ringleader whom Trainum was sure had “made” him. But it also “ruined my career,” Trainum says.

“It taught me what real investigations and real supervisors were. And I got spoiled,” he says. “They wanted us to be creative. As

12 january 27, 2017 washingtoncitypaper.com

long as it was legal, ethical, and moral, you could do anything. Most of the bosses I’ve had just wanted you to show up and do the paperwork.”

A posse of cowboys that was not only bringing in major cases but getting major praise from national media? That was more than any self-respecting piece of shit could stand.

“New bosses came in and were told that we had to be reined in. They pretty much wiped it

out,” Trainum recalls of the Repeat Offender Program.

He transferred to a burglary unit in the 5th District.

In 1992, a 22-year-old former congressional aide named Abbey McClosky was dragged into an alley, beaten, and anally raped before being found behind a parked car on Capitol Hill. She eventually succumbed to her wounds, but while she lingered in a coma, her case did too.

“She wasn’t dead yet, so it wasn’t a homicide,” Trainum recalls. “Sex squad assumed she would die so [they] didn’t want to investigate it.”

Trainum was working an attack that had occurred nearby. A woman had answered her door and been beaten to a pulp. Her son heard the screams and came running, chasing the suspect away. But the suspect had left a duffel bag behind. In it, there was an I.D. with an address for a halfway house belonging to a man named James McMillian.

Trainum worked the case methodically. At one point, he called McMillian’s mother to chat.

“I’m talking about this woman he’s beaten. And mom goes, ‘Was it a white woman?’ I say, ‘No, but why would you ask that?’ She says, ‘He’s always had this anger toward lightskinned black women and white women,’” Trainum recalls. “And I go, ‘Holy shit, we’re only a block away from where Abbey McClosky was beaten and sodomized.’”

Trainum typed up a report for homicide, including McMillian’s mug shot and an eerily similar composite drawing of the suspect in the McClosky case. McMillian would be one of the first defendants sentenced to life without parole under D.C.’s revised murder statutes.

But no good deed goes unpunished, and thanks to his work on the McClosky case, Trainum was transferred “kicking and screaming” to the homicide unit.

“I knew what I was doing at the 5th District, working burglaries, had a more positive impact,” he says.

“You have a really small chance of getting killed here. But lots of people are victims of burglaries.”

“Working a burglary is like working a serial killer. They can be patient—they can wait,” he continues. “You have to catch them with their patterns. It’s a lot more difficult and fun than just getting somebody on the street to say, ‘Yeah, I saw so-and-so shoot so-and-so.’”

To his surprise, though, he found in Hennessy, the homicide unit commander, a kindred soul. As ever, the appeal was the innovation.

“I have to give him credit for really raising the standard of homicide investigations, and

lowering the homicide rates,” Trainum says.

“But he was unpopular with the powers that be, and so they ran him out.”

At homicide, Trainum also made another important, and lasting, friendship when he called upon the FBI for help on a case. There he met Special Agent Brad Garrett. The men would partner up for the better part of two decades.

“Jim is actually a very easy person to work with,” says Garrett, who, though now retired from the Bureau, was once famous in law enforcement circles for his all-black wardrobe—and for putting the bracelets on World Trade Center bomber Ramzi Yousef in Pakistan. “He listens, he’s not locked into one sort of view of things. He’s always ready to learn. That is extremely important when you’re doing difficult cases. Obviously, you wouldn’t be working on them if someone else had solved them.”

Garrett is a bit more philosophical about the pieces of shit he and Trainum routinely encountered.

“Jim doesn’t let the bureaucracy get in the way of being honest and doing the right thing,” he says. “Those two things must always prevail for him—and that doesn’t always work in a bureaucracy.”

The pieces of shit didn’t much care for Trainum (or for Garrett, whom they characterized as Trainum’s “bitch”), but they did like the results. So Trainum discovered that he and Garrett increasingly worked cases alone.

Then as now, the department was indefatigably hostile to anything new, different, or effective. It was an agency that knew the price of everything but the value of nothing.

(For nearly two decades, Trainum tooled around in a “police” car obtained from the asset forfeiture unit—a Ford Fiesta from Canada that measured everything in kilometers or liters and that came to him with neither air conditioner nor tires. He bought new tires and slapped municipal tags on the beater. It crapped out eventually. So in 2009, when a fascist shot a security guard who was holding the door for him at the Holocaust Museum, Trainum had to take the Metro to the crime scene.)

But by the late 1990s, the technology gap wasn’t just embarrassing; it was a barrier to real police work. So Trainum pushed the District to commit to a forensic sciences lab and to Big Data. He was put in charge of the cold case unit he himself had created. For a delicious, if brief, interlude, he was again left to his own devices.

He was able to discharge a few debts of honor. For instance, when Hennessy left the department in 1998, Trainum asked if there were any unsolved cases that he thought might profit from new DNA analysis. Hennessy instantly thought about the 1983 rape/ homicide of Raymonde Plantiveau, a 57-yearold French woman who had come to visit her daughter at her apartment, just on the other side of Georgetown. Plantiveau was napping when a burglar broke in, and she surprised him. The man raped her and stabbed her 21 times.

“It was just awful,” Hennessy recalls.

“Jim spent seven years tracking down DNA from the crime scene. He went the distance, man.”

DNA led to Melvin Jackson, by then a deacon in his Trinidad neighborhood church.

Jackson was convicted of rape and murder in 2006.

Eventually, though, the pieces of shit would have their way. As part of his cold case project, Trainum had spent years, and tens of thousands of dollars in federal grants, building up a digital, relational database of each unsolved homicide on D.C.’s books, going all the way back to 1968. But in his last years in the department, as the FBI moved to webbased storage, it began pressuring departments to keep only new cases online. Trainum resisted heroically. Then, while he was on vacation, a supervisor casually deleted the entire database to appease the feds.

Trainum had had enough and retired in 2010. (The pieces of shit did their best even on his way out. Finding himself frequently called for “random” drug tests in his last years, he was dragged in again just a week after he’d put in his papers. The testing administrator whispered to him that internal affairs had specifically requested a check. They were hoping he’d have drugs in his system; that way, they could seize his pension.)

These days, Trainum says, he’s learned to let go of most of his anger. The daily walks with Roux, his rescued Great Dane, help.

(Roux’s name was originally “Ruger,” but Trainum, always uncomfortable with firearms, shortened it.) There’s also the afternoon cigar, smoked methodically in the backyard of his Hill East neighborhood rowhouse, before he preps the evening meals.

“Some say I’m pretty good,” he says, “but I’m really just a hack who has gotten just good enough to not totally rely on a cookbook.”

He has remarried, too, but on that point, he asserts his right to remain silent.

Then there’s the work. He travels the country, from seminar to seminar, statehouse to statehouse, arguing for new and better ways of policing. (His travels haven’t taken him home, though: In D.C.’s department, he remains persona non grata.) He also fields hushed calls from cops in other departments who’ve suddenly discovered they’ve got their own problems with false confessions.

Most of it, he does for free. This gives him a measure of revenge: Trainum delights in the thought that his fully vested pension pays for his reform efforts. He is sure that, someday, cops will come around. Until then, he’s just doing what he’s always done— making his cases.

“I respect what law enforcement does, and tries to do. I just think that there’s better ways to do it,” he says. “The police aren’t separate from the public. There’s no separation. And, even if there is, the public’s the boss.”

CP Bill Myers lives and works in Washington.

Email him at myers101@outlook.com.

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Just Deserts

By Laura Hayes Take Two hypoTheTical District residents who need groceries. One lives in the Cascade Park Apartments in Southeast and doesn’t have access to a car. To reach the only full-service grocery store in her ward (a Giant in the Shops at Park Village), she walks 4.2 miles round trip.

The other lives in Union Row—a development on 14th Street NW in Ward 1. He can walk to YES! Organic Market, Streets Market and Cafe, Trader Joe’s, Smucker Farms, Whole Foods, Safeway, and Giant without going more than a mile.

Those working on food access equity in D.C. use words like “crime,” “absurdity,” and “injustice” to describe the disparity between Wards 7 and 8 east of the Anacostia River and the rest of the city. The USDA characterizes these low-income communities starved for places to purchase fresh produce as “food deserts.” And between 2010 and 2016, the situation only worsened.

In 2010, local organization D.C. Hunger Solutions released a “Grocery Gap” report showing Ward 7 had four full-service grocery stores for 73,856 residents and Ward 8 had three full-service grocery stores for 69,047 residents. Its latest data from 2016 reveal Ward 7 is down to two for all 70,064 residents and Ward 8 is down to one for all 78,686 residents.

Roughly one in seven households in the District is food insecure, the group says.

Worse yet, 26.6 percent of D.C. households with children can’t afford enough food. A disproportionate number of these families live east of the river.

There was a brief flash of hope when Walmart announced it would open where Good Hope Road SE meets Alabama Avenue SE, but the company backed out a year ago citing profitability concerns. Many were angry; others were stirred to bring about change.

DC Greens executive director Lauren Shweder Biel says the Walmart pullout sharpened the issues surrounding the city’s food deserts and even catalyzed collabora-

Young & hungrY

tion. “That moment became a call to arms for community organizers,” she says.

DC Greens and D.C. Hunger Solutions are two of many community groups unwilling to simply wait for full-service grocery stores to break ground and address the crisis. Instead, they’re collaborating to tackle a problem so complex that it calls for creative, multi-faceted solutions.

And what all these local initiatives share is a repudiation of backwards stereotypes that suggest the poor aren’t interested in fresh food.

“Politicians across the country and citizens have been perniciously stereotyping, allowing cities to take no action because they’ve vilified low-income folks,” Biel says.

“We’ve seen lines a hundred deep of people waiting in 100-degree weather to get $10 to spend on fruits and veggies. There’s lots of interest in healthy food, but healthy food does not exist in these neighborhoods.”

Indeed, food options east of the river are dominated by corner stores and carryouts because they are cheap to operate.

At a carryout, food goes from freezer to fryer, requiring little labor and producing little waste. “This leads to extreme disparities in diet-related health outcomes,” says Philip Sambol, director of partnerships for Good Food Markets, which is planning a new location in Ward 8. “You can have obesity rates five times higher in wards without access to fresh food.”

Poor nutrition impacts mental and behavioral health too, says Calvin Smith, who chairs the Ward 8 Health Policy Council. “If you aren’t eating well, you can’t think well, and if you can’t think well, you can’t act well.”

Sambol says food deserts are a product of history. “That low-income residents have been segregated into certain areas is a sad legacy of our racist redline housing policies—the clustering of affordable housing and voucher residents in certain communities have created an economic ghetto. And the way we’ve segregated our society around class and income equates strongly to race in the U.S.” Despite the obstacles—and there are many—

Stephanie Rudig

With the absence of big groceries in Wards 7 and 8, feeding the food insecure is a team effort.

most community organizers are optimistic.

“D.C. is way ahead of the game in a lot of ways,” says Sambol, who has worked on food access issues in three states. “It’s been slow, but folks who are working on this every day are pushing the boundaries of what’s possible.”

Citing the help of public officials such as Councilmembers Jack Evans, Robert White, and Trayon White—as well as Mayor Muriel Bowser—Biel says the city is working aggressively toward solutions. “Folks

that typically haven’t been as active on food issues are really coming around, seeing this as something the city has the power to fix.

More channels are being built so that marginalized voices are being heard.”

Several grassroots and governmental initiatives exemplify such work: DC UrbanGreens DC UrbanGreens is a nonprofit that operates two urban farms—one in Ward 7 at the Fort Dupont Ice Arena and a second in Ward 8 in

washingtoncitypaper.com january 27, 2017 15

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Fort Stanton. The produce grown across 84 beds primarily reaches Ward 7 and Ward 8 customers through the organization’s lowcost markets, which also accept vouchers, and through home delivery. The rest goes to partners like DC Central Kitchen and Good Food Markets.

Co-founder Julie Kirkwood identified the need to build relationships with highend clients willing to pay top dollar to subsidize the group’s mission. That’s why DC UrbanGreens cemented a formal partnership this month with CityCenterDC’s Centrolina, owned by Chef Amy Brandwein. “The thing about Amy that’s so ideal is she’s on board with everything we do—an emotionally invested partner,” Kirkwood says.

Kirkwood, her staff, and Brandwein met on Jan. 11 so Brandwein could share her wish list for ingredients ranging from toy box tomatoes to turnip greens. “To be able to sit down and talk about what we’re going to grow is a chef ’s dream, and to be doing it for the right reasons is over the top,” Brandwein says. The restaurant will showcase its new partnership at a spring harvest dinner in May. Kirkwood is thrilled to have Centrolina’s support and says Sweetgreen is also interested. “Some restaurants that wouldn’t open across the river because it wouldn’t be a wise business decision are finding other ways to help,” she says.

Produce Plus The Produce Plus Program provides D.C. residents who participate in federal assistance programs with $10 in vouchers twice a week that can be redeemed for produce at 55 area farmers markets. “We had 7,353 participants, the majority coming from Ward 7 and 8,” DC Greens’ Biel says of the program’s 2016 voucher numbers. Because some have families, the estimated reach of the program in 2016 was 18,000 to 20,000 people.

While DC Greens executes the program with the DC Department of Health, the work of partner organizations D.C. Farmers Market Collaborative and D.C. Hunger Solutions strengthen its impact. The latter works to enroll District residents in the federal Supplemental Nutrition Assistance Program (SNAP, which is still colloquially referred to as food stamps). As of Oct. 2016, 126,322 Washingtonians were enrolled.

Healthy Corners DC Central Kitchen (DCCK) operates a Healthy Corners program to bring fresh produce and healthy snacks to corner shops in low-income communities. Products are sold at wholesale prices, allowing store owners to pass savings onto customers. In fiscal year

2016, 74 corner stores participated (33 of them in Wards 7 and 8).

DC Greens helps DCCK by using targeted outreach to let residents know about the program. Biel points to Grubb’s Pharmacy in Ward 8 (1800 Martin Luther King Jr Ave. SE) as a cause for hope, because owner Bill Fadel has decided to dramatically increase his display of fresh fruits and vegetables in response to community demand.

DC Food Policy Council (DCFPC) As part of its efforts to lure groceries to Wards 7 and 8, DCFPC is hoping to amend the 2010 FEED DC Act to boost supermarket incentives such as tax cuts and rebates. “We want to refocus the act to get more funding to those areas that have the greatest need, the highest poverty rates,” says director Laine Cidlowski.

Cidlowski says the group is also working to raise awareness about the Cottage Food Act, which allows entrepreneurs to launch small, home-based food businesses. Enterprises that bring in $25,000 or less in sales are exempt from the strict inspection standards required of bigger businesses.

Good Food Markets Within the next two years, Anacostia in Ward 8 will get a Good Food Markets much like the one currently in the Woodridge area of Ward 5. It’s bound for the Menkiti Group’s MLK Gateway Community.

Good Food Markets is dedicated to developing retail solutions for food deserts, and its director of partnerships, Philip Sambol, thinks sprawling grocery stores aren’t always the answer. “The way the industry has developed over the last 75 years is you get the big enormous store or small bodega packed with processed foods, high-fat, highsalt snacks,” he says. “It doesn’t seem right— this two-party system doesn’t quite work.”

His shops are somewhere in between.

Good Food Markets has a nonprofit arm called Oasis Community Partners, which provides job training, nutrition education, internships, and more. The outfit also has 33,000 square feet of land in D.C. and Maryland, where it will begin growing produce to sell this year.

Sambol calls the forthcoming Ward 8 market a “social enterprise” grocery concept because it prioritizes social and cultural impacts alongside profit. “We may not be looking for a market-based solution here,” he says. “It’s much more social and cultural than economic, and we need to embrace that.”

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

DCFEED

what we ate this week: Fried chicken ssam with lettuce cups, sesame leaves, pickled radish, and sauces, $8, Mandu 18th Street. Satisfaction level: 5 out of 5.

Grazer

what we’ll eat next week: Lasagna with goat, kale, anchovy, and salsa verde, $26, Tail Up Goat. Excitement level: 4 out of 5.

Sauce-O-Meter

What’s in

Stein’s Stein

How recent food happenings measure up By Laura Hayes

$24 gets you four cocktail shrimp at the Trump Hotel’s Benjamin Bar & Lounge.

Winter restaurant week begins Jan. 30.

Mezcalero opens in Columbia Heights with mezcal cocktails and overstuffed tortas on the cheap.

Chef Nora Pouillon receives a lifetime achievement award from the James Beard Foundation.

Courtesy of Lynn Pronobis

A dramatic price slash doesn’t save The Shaw Bijou, which closed after less than three months in business.

MUMBO SAUCE

Darrow Montgomery

LAME SAUCE

Historic eatery Florida Avenue Grill wins its foreclosure battle and will remain open.

What’s in Stein’s Stein is a new biweekly feature celebrating the liquids made, sold, and served by underrepresented voices in the craft beverage industries.

Beer: Union Craft Brewing Company’s Midnight Marauder Dark Sour Ale with Blackberries Maker: Lynn Pronobis, cellar manager at Union Craft Brewing, a.k.a. Queen of Baltimore Beer Hometown: Waldorf, Maryland

Buttercream Bakeshop fields backlash after agreeing to replicate an inaugural Obama cake.

Gary Williams, Maury Povich, and Tony Kornheiser are the unlikely new owners of Chads in Friendship Heights.

Woodward Table’s Roasted Red Beet Bourguignon Where to Get It: Woodward Table, 1426 H St. NW

The Dabney’s basement will soon be a bar that serves seafood and charcuterie.

Veg Diner Monologues A look at vegetarian dishes in the District that all should try

Price: $22.50 What It Is: This dish is a twist on a classic French bourguignon stew, except beets replace beef as the star ingredient. The result in a meal that has the density and soul-satisfying quality of the original concept, but with added sweetness and seasonality. Chef Eddie Moran says he roasts beets with classic bourguignon aromatics, then chops them to resemble stew meat soaked in red wine. Finally, he sears them to give them a caramelized texture on the outside before serving them over far-

ro tossed with mushrooms and butternut squash. The stew is also laden with baby root vegetables, hay-smoked pearl onions, and roasted grapes, which bring “a smoky, sweet, almost terroir wine

Price: $3 per 4 oz. pour, $7 per 14 oz. pour Taste: Midnight Marauder, named after A Tribe Called Quest’s 1993 album Midnight Marauders is a juicy, tart ale. The beer is jammier than Smucker’s because Pronobis adds blackberries to the cask.

At 4.5 percent alcohol, the ale isn’t as strong as it is dark.

The 14th Street Corridor location of Colada Shop will finally open its doors Feb. 1 with coffee, Cuban fare, and cocktails.

The Story: Moran wanted to make a meatless preparation of this classic French dish without compromising flavor and presentation. He says the key is the vegetarian demi-glace made from roasted vegetables, miso, kombu kelp, and mushroom trimmings that add a balance of sweet, savory, earthy, and umami flavors. The sauce has both body and depth of flavor.

Story: A gender-equitable pipeline of beer flows into the District thanks to Pronobis. Historian Maureen O’Prey, author of Brewing in Baltimore, says the 27year-old is the first female brewer in the city of Baltimore since Prohibition’s repeal in 1933. “I honestly don’t know how to feel about it,” Pronobis says. “It’s cool to be that person, but at the same time it is a crazy example of how little women have come since then, considering women were the beer makers to begin with. I’ve always been one to try and prove statistics and stereotypes wrong.”

Why Even Meat Eaters Will Like It: With the combination of so many seasonal vegetables and a demi-glace that is meticulously prepared, this dish is arguably more beautiful, more fragrant, and more flavorful than a traditional bourguignon.

—Priya Konings

Where to Try It: Churchkey and Pizzeria Paradiso are Pronobis’ biggest accounts. Says Churchkey beer director Greg Engert, “We pour a ton of cask ale from them, and have something on cask from Union nearly every week.”

—Michael Stein

note to the stew,” Moran says.

washingtoncitypaper.com january 27, 2017 17

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Natural Instincts

Priests’ first full-length record, Nothing Feels Natural, is an instant post-punk classic. The making of it almost tore the band apart.

By Marc Masters

music

cluding Mark Cisneros on vibraphone and bass clarinet, Luke Stewart on saxophone, Perry Fustero (who playswith Daniele in Gauche) on piano, and Janel Leppin-Pirog on strings (contributing a beautiful solo cello track called “Interlude.”)

“We ended up making a record that’s very much about community, because we had so many friends play on it,” says Greer. “I’m glad in this horrible current situation, where people are threatening the arts and arts communities, we could make a record about why they’re important and how they’ve enabled us.”

Daniele even goes so far as to claim that the D.C. music community literally saved Nothing Feels Natural. Given what Priests went through to make it, she’s not exaggerating. Counting initial self-recorded demos, the band recorded four versions of the album over the past two years. And the final one almost didn’t happen.

In early 2016, Priests traveled to Olympia, Washington to record at High Command studio with Dave Harvey, AKA Captain Tripps Ballsington. Though the band enjoyed the experience and respect Harvey immensely, the results didn’t match the grand sound they envisioned. But they were torn about whether to try again.

“I thought, fuck, we spent all this money, we all missed weeks of work for this,” says Daniele.

Adds Greer: “I was so ready to be done with the record that I thought, let’s just put it out. We’re going to make another one anyway, so I’d rather get to work on that.”

Jaguar and Mulitz felt differently and pressed their bandmates to record a few more songs at Inner Ear in Arlington. “We said, ‘Once you hear this you’ll want to re-record it all again,’” insists Mulitz. He was right, but it took some conflict to get

Audrey Melton

When you’re a punk band from D.C., there’s an expectation to be political. But for Priests, the presumptions have gotten a bit out of hand. “There was a French blog that covered our new video, and we put their headline through Google translate,” recalls vocalist Katie Alice Greer. “It came out as “Priests Predicted Trump!””

Sitting in Buck’s Fishing & Camping restaurant on a cold December night, everyone in the band cracks up at Greer’s story. None of the four members— Greer, bassist Taylor Mulitz, guitarist GL Jaguar, and drummer Daniele Daniele—deny that their music is political. But they see it more universally. “We come at it thinking everything is political, all art is political,” says Greer. “Even making the choice to not make a statement is political.”

Politics certainly emerge on Nothing Feels Natural, Priests’ fifth release and first full-length album. “Pink White House,” with its references to voting, fundraising, and the myth of the American dream, is, according to Greer, “an indictment of the structures that are squeezing the humanity out of art and social organization.” “Puff,” a mocking of capitalist optimism replete with chants of “accept the triumph of the machine,” was inspired by Greer and Daniele’s interest in Accelerationism (“we’re against it,” Greer insists).

But the political stances of Nothing Feels Natural are broad, subtle, and open to interpretation. It’s just one aspect of a lyrical and musical approach that the band has stretched wider than ever. Priests’ new songs are richer and more detailed than those on their previous EP, 2014’s Bodies and Control and Money and Power, which captured the energy of its live shows. Nothing Feels Natural represents an effort to, as Greer puts it, “use the studio as an instrument.”

The result is an album that’s both urgent and patient, strident and understated. Moving deftly through slamming rants, surfinflected melodies, atmospheric meditations, and taut grooves, Nothing Feels Natural has the maturity of a post-punk classic, one as likely to get bodies moving as neurons firing. There’s still tons of raw power in Priests’ attack—the album opens with Greer moaning “You want some new Brutalism!” over a ruthless Daniele beat—but it comes with equal amounts of nuance and range.

Jaguar points to the inspiration of early Cure, Bauhaus, and Portishead’s 2008 album Third. “That record has this big studio sound; the synths just blast you from this crazy stereo image,” he explains. “But at the same time the guitar and vocals are lo-fi and punk sounding. We wanted this record to capture a bridge between the live elements of our band and a new direction in the studio.”

That new direction incorporated many D.C. comrades, in-

there. Daniele recounts a shouting match at Buck’s, where she and Mulitz work, on her birthday. “Priests is usually a very collaborative, democratic process,” Greer says. “So it’s unusual for one or two people to say, ‘No, absolutely not.’”

Once everyone agreed, Priests still needed to find someone to produce. They turned to Kevin Erikson and Hugh McElroy, both of whom had worked on three previous Priests rewashingtoncitypaper.com january 27, 2017 19

CPArts cords. Though the pair was on the verge of moving, they immediately accepted.

“They basically worked on spec, didn’t even talk about price,” recalls Daniele. “They just saw this broken mess of four people and said, ‘Don’t give up!’”

Going back to Inner Ear with Erikson and McElroy gave Priests the chance to finally stretch their songs to meet their collective ambitions. “We thought that these were great pop songs and we could make them as big or as small as we want,” says Daniele. “We didn’t have to rewrite them to add to them.”

That led to a multi-part harmony in “Leila 20,” with seven vocal tracks layered together, dramatic piano chords in the raucous “JJ,” and a hall-of-mirrors effect on Daniele’s singing during “No Big Bang.”

“Now that I’ve held the record in my hands, I think to myself, this worked out great!” Greer says. “But there were times when I thought, maybe we’re destroying the band by going on the quixotic journey of this record.”

Such uncertainty influenced the choice to name the album Nothing Feels Natural. As Mulitz puts it, “Making this record did not come easily or naturally. At one point I was worried: what if people hear this and think, ‘Hmm, nothing feels natural? No kidding!’”

The concern proved unwarranted—the sonic and thematic cohesion on Nothing Feels Natural is far from forced—but the album title still has philosophical significance. “When someone

says ‘just act natural,’ I don’t know what that means,” explains Greer. “I’m a performer. I’m always thinking about what I’m doing. Even when you’re sleeping, if someone’s watching, you’re performing. And what the fuck does natural mean anyway? Does it just mean something we’ve all been socialized to do?”

The notion that convention shouldn’t be mandatory informs Priests’ thoroughly DIY approach to art. All four members taught themselves to play, and they still strive to avoid accepted rules.

“When we started the band, [the No Wave documentary] Blank City had just come out,” explains Jaguar. “There’s a part where Lydia Lunch says, ‘We were playing music like we were inventing the fucker.’ And we all thought, ‘We’ve got to do that!’” In turn, the band rejects even its own conventions.

“If one of us has an idea and is not sure it’s really a Priests thing, we say, ‘Fuck that, everything’s a Priests thing,’” adds Daniele.

“If you like it, it’s a Priests thing.”

The logical extension of Priests’ musical autonomy is the record label that all four members run together, Sister Polygon. “We started it out of necessity, at least for me, because I couldn’t think of any other way to do it that made sense for us,” says Daniele.

Thus far, Sister Polygon Records has released 22 records by nearly 20 different artists, filling the makeshift office in Mulitz’s apartment. “For me, growing up in D.C., if you have a record, you put it out yourself,” insists Jaguar. “What else are you supposed to do?”

CARLOS HENRIQUEZ SEXTET

Such self-reliance is on their minds as Priests look toward a tour in support of Nothing Feels Natural. It will be their longest as a band and their first in an America where the far right suddenly has unprecedented power. Threats against underground artists and venues are on the rise, something Daniele and Mulitz have seen first-hand: Buck’s neighbors and shares ownership with Comet Ping Pong, a venue famously targeted by fake conspiracy-obsessed harassers. But the challenge emboldens Priests.

“It’s interesting that some places of attack lately have been art spaces,” says Daniele. “There’s a lot of symbolic currency there for populism and what art has become. As DIY artists it makes it very obvious what your job is.”

“If people want to work to destroy those things, what does that represent?” asks Greer. “It represents creating a temporary environment where we can come together and share ideas and reinforce one another’s differences in ways that mainstream culture doesn’t.”

Maybe it’s these kinds of circumstances where Priests’ universal approach to politics can have its greatest effect. In a time when every day seems urgent, they’re well-equipped to make a difference with their art. “Drastic circumstances force people to pick a side,” Greer says. “At times people want to say, ‘There are no sides, I’m not involved.’ But no, you’re always involved. It’s time to see your place in all of this and figure out the best way to participate, because we’re all already participating.”

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TheaTer

Court Disorder

Sarah Jane Agnew (as Weddington) fiercely articulated something with which they agreed.

Is that the same thing as being moved by Agnew’s performance? I’m not sure. I also heard a few scattered “Amens” when Jim Abele (as Benham) held a Bible over his head and declared that Jesus is the only answer. Abele’s performance has a dexterity that some of the others don’t, but he’s also given more to play.

Sara Bruner, in the role of McCorvey, seems tion Rescue opened an office next door to the somewhat timid in a show that’s all about her, Dallas reproductive health clinic where Mc- but perhaps that’s intentional. With the excepCorvey was working. Flip Benham, the Evan- tion of her faithful Connie (Catherine Castelgelical minister in charge of the organization, lanos, who carries the pain of her lover’s indifbefriended McCorvey, and their relationship ference), people were only ever interested in eventually led her to a profound change of her as an abstraction. When Kenya Alexander heart: She became an anti-abortion activist. makes a late-show appearance as a low-income In 1995 she allowed Benham to baptize her. In young woman seeking an abortion, only to be 1998, she became a Roman Catholic and de- stymied by the ever-expanding list of restricclared herself no longer a lesbian, though she tions on the procedure, the show finally finds a continued to live in the home of her partner current of emotion to match its scholarship.

I like the scholarship, though. Both Wedof more than 20 years, Connie Gonzalez. She wouldn’t move out until 2005, after Gonzalez, dington and McCorvey waited until the ’90s 16 years her senior, suffered a stroke. In 2013, to publish accounts of their experiences in the case. McCorvey published two.

In 1994’s I Am Roe, she claimed she’d Sara Bruner as Norma been used by Weddington and anothMcCorvey (left) and er lawyer, Linda Coffee (a wry Susan Sarah Jane Agnew as Lynskey), who were actively seeking a Sarah Weddington client on whose behalf they could chal(right). lenge Texas’ anti-abortion law. She admitted she’d lied about being raped in 1969 in the hope it would increase her chances of being granted an abortion.

In her second book, she went further, claiming that her lawyers, Wedding and Coffee, had told her to lie, which Weddington disputes. Loomer delights in having her characters announce these discrepancies in the public record, and this metatheatrical trick extends even to minor players, who sometimes quote from their own obituaries when introducing themselves.

It sounds a little bit wearying. In sunnier times, perhaps it would be. As things stand, I think it’s a good illustration of the gap that exists between the inner and public selves of even the most grounded people, never mind someone McCorvey’s 47-year-old daughter Melissa told whose compass spun in as many directions as Vanity Fair magazine, “Norma has never been McCorvey’s.

Thanks to an unprecedented abdication of able to do the right thing. Never.”

The pro-choice movement probably duty by Senate Majority Leader Mitch McCowould’ve preferred a more compelling poster nnell in the 10 months since the death of Juschild. But one of the themes that emerges from tice Antonin Scalia (who was himself the subLoomer’s messy but effective pageant is how ject of a play at Arena Stage two years ago), our dehumanizing it is to make anyone the post- new president is in a position to fill a Supreme er child for anything. And it’s hard to imagine Court vacancy immediately. If Roe might’ve how any play that embraces all these contra- felt a little bit airless upon its birth last April, dictions could be any less hand-waving than it sure doesn’t now. Loomer’s style is a bit professorial, aye. But you know what? I’m with Loomer’s is.

The audience I saw Roe with applauded dur- her.

CP ing the ’70s-set courtroom scenes (featuring recorded audio of the justices’ questions) and 1101 6th St. SW. (202) 488-3300. $55-$110. ’90s-set TV talk show scenes when (usually) arenastage.org.

Arena Stage’s play about the landmark Roe v. Wade decision wasn’t supposed to be this timely.

Roe

By Lisa Loomer Directed by Bill Rauch At Arena Stage to Feb. 19

By Chris Klimek Roe v. Wade, the landmark 1973 Supreme Court decision enshrining a woman’s right to an abortion anywhere in the United States, was 16 years old when it became the subject of a 100-minute made-for-TV movie. I’m unaware of any major attempt to dramatize the case in the 27 years between when Roe vs. Wade aired on NBC and the world premiere of Lisa Loomer’s play Roe at the Oregon Shakespeare Festival last April. In that generation-long interval, the case has only grown more hotly contested, as you already knew, and the life of its plaintiff more complicated, as you maybe didn’t. And of course in the nine months between Roe’s premiere and its arrival in D.C. at Arena Stage with (mostly) the same cast, the world has changed.

I can’t pretend that the inauguration of the most openly misogynistic president in at least half a century doesn’t lend Loomer’s openly didactic wiki-play a resonance and an urgency it would not have if Hillary Clinton now occupied the White House. And I see no point in trying to disentangle my estimation of Roe’s aesthetic worth from the occasion of when I saw it: On the 44th anniversary of the decision. One day after I’d marched with millions around the globe (and hundreds of thousands here in D.C.) in support of women; and one day before President Donald Trump would sign an executive order reinstating President Ronald Reagan’s gag rule banning Federal funding to international healthcare groups that mention abortion to patients in any context for any reason.

Given the oppressive weight of the present, I’m considerably more susceptible to a historyplay that speaks its own footnotes—at the expense of jokes, lifelike dialogue, a fourth wall, or many of the other disbelief-suspending tools dramatists traditionally employ—than I would be were Roe v. Wade now not in grave danger of being overturned. So sue me.

My response to Loomer’s term-paper-asstage-show, efficiently staged by Bill Rauch

and enlivened by a dozen-member cast with all but the principals playing multiple roles, is clearly informed by partisanship. But I don’t think the play is. It’s true to the complexities of the abortion debate by being true to the complexities of Norma McCorvey’s biography.

(McCorvey is the woman represented under the pseudonym Jane Roe.) She was a victim of abuse from a young age, was disowned by her mother for being a lesbian, a drinker, and a drug user, and already had two children by age 22, when she sought to abort her third pregnancy. The legal wheels turned too slowly for that; her third baby, like her second, was adopted.

Over the course of the middle and late ’70s, McCorvey became increasingly convinced she’d been the mere pawn of Sarah Weddington, the Texas lawyer who was not yet 30 when she argued on behalf of “Jane Roe” before the high court. McCorvey outed herself as Jane Roe in 1980. Around the time Holly Hunter won an Emmy for playing her on TV (though the telefilm Roe vs. Wade renamed McCorvey “Ellen Russell” for some reason), McCorvey hooked up with feminist attorney Gloria Allred, who flew her to L.A. and began grooming her for a career as a reproductive rights advocate. She enjoyed her brief tour of the jet set (and the cocaine), but eventually she went home to Texas.

In the ’90s, the anti-abortion group Opera-

washingtoncitypaper.com january 27, 2017 21

Galleries

Rogues’ Gallery

Shows at Flashpoint and Hamiltonian Gallery highlight queer artists and women of color, just in time for the dawn of the Trump era.

Eames Armstrong & John Moletress: Perversion Therapy At Flashpoint Gallery to Feb. 4

Christine Neptune: Ms. ____ (Interior) & Nakeya Brown: Some Assembly Required At Hamiltonian Gallery to Feb. 18

By Kriston Capps The armed guards at the opening of Perversion Therapy didn’t go unnoticed by anyone at Flashpoint. Chalk it up to the persistence of the insane #Pizzagate conspiracy, whose rabid subscribers still dog anyone associated with art in D.C., even weeks after the lies were put to rest. Or call it a sign of the dark turn the city has already taken under President Donald Trump. Maybe private security will soon be as ubiquitous as white wine in plastic cups at gallery shows in the District.

It’s almost as if Eames Armstrong saw it coming. Perversion Therapy, a show combining her paintings with performance by John Moletress, seems to wink at the hangups of the incoming Republican administration. Armstrong’s paintings in particular confront the notions of boundaries and identity and what counts as ordinary (and who gets to decide).

The figures in her paintings stare out, as if they are challenging the viewer: go ahead, say something. It’s as if they’re waiting for Mike Pence to walk in.

“We are in the bathroom!” (2016)—Armstrong’s titles often read like cheery texts from a party—features six figures of indeterminate status loitering in the loo. They look blank and expectant, to the extent that emotions can be assigned to figures that look like they’re all wearing the same emoji face. Armstrong’s paintings are naïve, but they aren’t unserious, even if the figures themselves aren’t taking anything seriously. They look vaguely deviant (why’s everybody in the bathroom?) and possibly brainwashed, in keeping with the allusion to the “conversion therapy” in the title of the show.

The five figures in “We did it!” (2016) linger like the ladies of Pablo Picasso’s “Les Demoiselles d’Avignon,” their body parts intermingling with the indeterminate space around them. Armstrong’s paintings are a happy-go-lucky queerfauvism, all mega-intense brushstrokes and delightfully girly palette. Her figures are feminist like the work of Dana Schutz and zany like por-

traits by George Condo, although Armstrong’s style is less painterly than either.

That figures for an artist known better for her performance work, but don’t discount her painting—especially her color work. Or the narrative assertiveness of paintings such as “If This Dark Age Conquers, We Will Leave This Echo” (2016), in which her figures appear to be lost in sex without depicting anything like fucking.

One problem with Armstrong’s paintings is that there’s so many of them—20 in fact.

It’s an awkward number. There are too many paintings to sustain the theme without testing it, like variations on a theme. There aren’t enough paintings to overwhelm or obliterate the viewer or make a compelling point through repetition. Taken altogether, some of them seem redundant.

There are more than enough of Armstrong’s paintings to justify a solo show, however, and Moletress’ “Untitled” (2016) video artwork—a film that captures a couple engaging in puppy play—doesn’t add much to the gallery presentation. (The artist also led performances in the gallery on two nights.) Simply showcasing men (one “dog,” one “puppy”) biting and barking at one another is more than enough to freak out our new Vice President, but it doesn’t meet the high bar for provocative video art. hamilTonian gallery has quietly emerged as one of the most important art spaces in the District. Through its fellowship program, Hamiltonian finds new, mostly untested artists and gives them the opportunity to go big. Two shows on view—Nakeya Brown’s Some Assembly Required and Christie Neptune’s Ms. _______ (Interior) show why Hamiltonian is a required destination for anyone who wants to understand art from the MidAtlantic region.

Brown’s Some Assembly Required takes its point of departure from a photo of the artist’s Jamaican-born grandmother, seen in a faded photo of a factory that’s been blown up to wall-sized proportions. To this she’s added a series of photos in a line that depict household goods. The photos show objects shot on stools, in front of a flowery wallpaper, like portraits; taken together, items such as a photo album, folded towels, and canned ackee fruit demonstrate a kind of inherited cultural construction.

These photos are titled individually (“Assimilation Blues,” “An Empty Photo Album,” and so on, all 2016), but they’re best read

22 january 27, 2017 washingtoncitypaper.com

as a single work. The same goes for “One Image Fits All (Part I and II)” (2016), two portraits of pantyhose made for black women. (Both Brown and Neptune are black, which is plain from their identityinflected work, although a show highlighting work by women of color deserves an explicit mention, as it’s a rarity in D.C.) In fact, all these works plus three more, “Vernice Acquires the American Dream (Part I, II, and III)” (2016), all could be billed as a single piece of nostalgia.

“Thieves Like Us” By Eames Armstrong, 2016 The works are handsome and show a clear if narrow purpose.

Brown’s work is earnest and straightforward compared to the artist with whom she shares the show.

Neptune’s video and installation art rely on editing and ambiguity. Ms. _______ Interior is a mature show for an artist who is basically just starting out, one that conveys the swagger of more established artists.

Neptune gets a lot of work out of a simple sculptural conceit, a square made of fluorescent or neon tube lights, her “spotlight.” “Woman Sitting in Spotlight” (2016) features two photos, one of which depicts an older black lady standing behind the “spotlight,” along with a television set that shows a grainy, shaky image of the words, “To veil the threat of terror.” Another installation, “Woman Standing in Spotlight” (2016), comprises one photo and one two-channel video loop showcasing the artist “BBL” by Nakeya Brown, 2016 herself standing behind her sculpture. Strong Bruce Nauman vibes echo across trait, drawn across multiple media formats.

Neptune’s works.

In between her indeterminate installations It’s a strong start for a new artist—someis a hanging screen onto which the artist has thing viewers have come to expect to see projected “Command: Take Me to the Interi- at Hamiltonian. The hope is that Neptune or” (2016), the piece that ties the show togeth- and Brown’s shows reflect a new commiter. The video depicts the artist staring out at the ment among D.C.’s galleries to show and viewer, but the portrait is spliced with snippets promote artists of color, something that the of code—as if the police facade slips for a min- city’s art scene has rarely done despite its ute, revealing the truth underneath. That truth demographics.

CP turns out to be impossible lines of code, commands stemming from literature and court cas- 916 G St. NW. Free. (202) 315-1305. culturaldc. es, for example. Although it’s hard to process org/visual-arts/flashpoint-gallery. the source of these texts, they clearly draw on social justice.

1353 U St. NW. Free. (202) 332-1116. hamiltoNeptune’s show is a convincing self-por- niangallery.com.

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washingtoncitypaper.com january 27, 2017 23

FilmShort SubjectS

A LAughing MAtter Toni Erdmann

Directed by Maren Ade Things you’ll never be able to see in the same way after watching Toni Erdmann: petit fours, team-building exercises, Whitney Houston’s “The Greatest Love of All.” The nearly three-hour German comedy offers unique gags and comic set-pieces that linger in your memory long after the final credits roll, despite its terribly familiar premise. It’s a bit like one of those Hollywood movies about a straight-laced protagonist whose life gets upended when an eccentric, estranged relative comes to visit. First, there is tension, but eventually our hero ends up enlightened and enriched by their relative’s carefree attitude. Lessons are learned. Fun is had.

Toni Erdmann bears many similarities to those broad comedies, but its reach is far deeper. Ines (Sandra Hüller) is our buttonedup hero, a thirty-something economic consultant living in Bucharest while handling an important client. Her life is upended when her father, Winifried (Peter Simonische) shows up unannounced, sporting false teeth and a mop-top wig and insisting that people call him Toni Erdmann. He’s a famous prankster, and Toni is his alter ego, but Ines isn’t in a laughing mood. While she wines and dines her client, Toni starts popping up everywhere, causing embarrassing scenes that threaten her carefully-cultivated career.

As played by Simonische with restrained merriment, Winifried is an indelible character of cinema, a middle-aged galoof who revels in the silliness of life. A coarser film would have reduced him to a stereotype, and indeed there are hints of the lame American stylecomedy within. Raunchy moments and cringe humor abound. Toni’s favorite gag is a whoopee cushion.

Ejaculate plays a memorable role.

Crucially, however, director Marin Ade never mocks or sentimentalizes her characters. We know that Winifried has come to grandly rescue his daughter—from something—but such broad notions are never stated. Emotions are shown, not told, in a simple embrace or a quiet cry.

While your eye may be drawn to Toni and all of his comic eccentricity, you’ll hopefully find time to marvel at Hüller’s comic precision. When we meet her, Ines has convinced herself that she is one of the normal people, but she’s not. She is her father’s daughter, and over the course of Toni

Erdmann’s long, demanding runtime, cracks begin to show. The pressure and subtle misogyny she feels at work—from her colleagues, supervisor, and clients—weigh on her, especially when her boss asks her to help his wife with her shopping. It is only a matter of time before her inner weirdo comes roaring out. Only a sadist would spoil the film’s hilarious climax, in which Ines either succumbs to her father’s winsome worldview or has a complete mental breakdown.

Despite its absurdity and silliness, Toni Erdmann has far more on its mind than bodily functions. The relationship between Ines and Winifried is a sharply-observed generational conflict. Ines takes advantage of the new world order by making her home in faroff places like Shanghai and Bucharest. Winifried stays home, caring for his aging mother.

One values work, the other family. It makes their slow crawl toward reconciliation ever more poignant and its pleasure deeper than your usual German comedy—whatever that is. In all, Toni Erdmann is a delight, a masterpiece of subtlety, and a rich comedy of eras.

—Noah Gittell Toni Erdmann opens Friday at E Street Cinema.

24 january 27, 2017 washingtoncitypaper.com

Life’s A DreAM

wood, he eventually makes his way to a tropical shore and passes out. You’ll wince when a crab crawls up his ragged pant leg; soon, however, the beach’s tiny crustaceans and other skittish creatures become a welcome source of charm.

The Red Turtle Fueled by coconuts, the man starts to exDirected by Michael Dudok de Wit plore the area after he rests. There are harrowing moments, such as when he tries to wriggle Castaway meeTs an aquatic Adam and Eve through narrow underwater caverns, and false story in The Red Turtle, a product of Japan’s signs of hope when the inevitable mirages and Studio Ghibli that’s up for an Academy Award dreams taunt him with means of rescue. He for Best Animated Feature. The hand-drawn uses the bamboo that surrounds him to forge a film, the first full-length work from Dutch di- raft—once, twice, three times. All immediaterector Michael Dudok de Wit, was solicited by ly wreck. Though there’s something to blame the production company after his 2000 short, on his third attempt: A large red turtle banged Father and Daughter, impressed the studio’s against the raft until it fell apart. So when the brass. With the company already known for man later sees the turtle coming ashore, he critically lauded animated films such as 2001’s flips it on his back and starts stomping on it.

Spirited Away and 1997’s Princess Mononoke, He doesn’t feel bad until long after you do, but The Red Turtle is yet another affirmation that guilt does overtake him, and he tries to revive the turtle, now dead. the studio has a good eye.

At this point, the film veers into the fanThe film—which has no dialogue except for the occasional “Hey!”—opens with a tastical—he can’t eke life out of the tortoise man bobbing in stormy waves and rain that again, but eventually a woman hatches out of darkens the scene so murkily it’s difficult to its shell. And she’s a keeper! Hair down to her tell sea from sky. Clinging to a piece of drift- waist, a cute face, also doesn’t speak. The island turns from prison to paradise, and they start a family. There’s still disaster waiting, but Toni Edrman they face it together.

Because there’s no obvious interpretation to Dudok de Wit’s story, the possibilities are endless. Is it about unrelenting hope? The reward of righting your wrongs? Destiny, albeit effected in a really weird way? The film follows the man, woman, and son as they battle natural disasters and experience Life’s Big Moments, including when the boy becomes an adult and must forge his own way. (Spoiler alert: Turtles accompany him.)

The Red Turtle’s animation is simple and often serene, with the blues of water and sky or the green of a lush forest offering lovely views. The lack of dialogue is a doubleedged attribute: It’s relaxing to watch a plot play out minus the usual chatter, The Red Turtle but you wouldn’t mind knowing, for example, what the man and turtle-lady said to each other on their unexpected first date.

Viewers who are able to allow themselves to flow with the story’s fantastical elements will, obviously, reap the most enjoyment of this modest tale. If you prefer your allegories to be more easily read, however, you may not fully submit to the film’s lure. Either way, you’ll recognize that despite the surrealism, the road that this unorthodox family follows is largely universal.

—Tricia Olszewski The Red Turtle opens Friday at Landmark E Street Cinema and the Angelika Film Center.

BL

An ode to the complications of friendship in its many fucked-up forms.

NOW PLAYING

THE HARD PROBLEM

BEGINS FEBRUARY 1

BY TOM STOPPARD DIRECTED BY MATT TORNEY

I WA N N A FUCKING TEAR YOU A PA R T

“LIGHTNING WIT AND INTELLECTUAL ENERGY”

WRITTEN AND DIRECTED

BY MORGAN GOULD

— THE NEW YORK TIMES

JOE BONAMASSA SAT, MARCH 4TH TICKETS AVAILABLE AT:

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Luce Unplugged COMMUNITY SHOWCASE | Friday, January 27, 6–8 p.m.

Explore thousands of artworks while listening to DC bands Insect Factory and Feedel Band.

Free tasting with 3 Star Brewing, cash bar.

Presented with the Washington City Paper.

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I.M.P. PRESENTS Echostage • Washington, D.C. JUST ANNOUNCED!

T Y C H O ........................................................................................................... MAY 7

THIS WEEK’S SHOWS

Luke Combs w/ Muscadine Bloodline & Tom O’Connor ........................Th JAN 26 ALL GOOD PRESENTS

The Infamous Stringdusters w/ The Brothers Comatose ....................... F 27 Hot In Herre: 2000s Dance Party

with DJs Will Eastman and Brian Billion .................................................. Sa 28

On Sale Friday, January 27 at 10am I.M.P. & STEEZ PROMO PRESENT

Big Gigantic

w/ Keys n Krates & Brasstracks 18+ to enter. ................FEBRUARY 17 2135 Queens Chapel Rd. NE • Ticketmaster

G. Love & Special Sauce w/ Ripe ............................................................. Su 29 White Lies w/ VOWWS ............................................................................. W FEB 1

Merriweather Post Pavilion • Columbia, MD

deadmau5 ............................................................................................... APRIL 8

FEBRUARY ALL GOOD PRESENTS

Greensky Bluegrass w/ Fruition ............................................................... Th 2 ALL GOOD PRESENTS

BoomBox w/ ELM - Electric Love Machine..................................................... F 10 Parquet Courts w/ Mary Lattimore ...............................................................M 13 U STREET MUSIC HALL PRESENTS

Cashmere Cat ............................................................................................... F 17 STEEZ PROMO PRESENTS

Liquid Stranger & Manic Focus w/ Artifakts ........................................Sa 18 Black Joe Lewis & The Honeybears w/ Dams of the West ................. Tu 21 The-Dream ................................................................................................... Th 23 No Scrubs: ‘90s Dance Party with DJs Will Eastman and Brian Billion .Sa 25

M3 ROCK FESTIVAL FEATURING TAL ME T! ES

F

Ratt featuring Pearcy, De Martini, Croucier • Kix • Loverboy • Cinderella’s Tom Keifer • Winger • Dokken and more! .......APRIL 28 & 29

M3 SOUTHERN ROCK CLASSIC FEATURING RN

HE

SOUT CK RO !

FEST

Lynyrd Skynyrd • Charlie Daniels Band and more! ................... APRIL 30 2 and 3-day Tickets On Sale now.

The xx ........................................................................................................ SAT MAY 6 I.M.P. & GOLDENVOICE PRESENT AN EVENING WITH

Sigur

Rós ............................................................................................... MAY 25

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

ALL GOOD PRESENTS

Tribal Seeds w/ Raging Fyah & Nattali Rize ............................................... Su 26 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Japandroids w/ Craig Finn & The Uptown Controllers ................................ Tu 28 MARCH

EagleBank Arena • Fairfax, VA

BASTILLE .................................................................................... MARCH 28 Ticketmaster

The English Beat ........................................................................................... W 1 The Knocks w/ Bipolar Sunshine & Gilligan Moss .......................................... Th 2 Randy Rogers Band & Josh Abbott Band w/ Stoney LaRue .................. F 3 U STREET MUSIC HALL PRESENTS

Haywyre & The Opiuo Band..................................................................... Sa 4 Agnes Obel ...................................................................................................... Tu 7 Los Campesinos! w/ Crying & Infinity Crush ............................................... Th 9

1215 U Street NW Washington, D.C. JUST ANNOUNCED!

w/ Cymbals Eat Guitars .............................................................. MAY 16 On Sale Friday, January 27 at 10am

ALL GOOD PRESENTS

Railroad Earth w/ Cris Jacobs ........................................................ F 10 & Sa 11 Sunn O))) w/ BIG|BRAVE ................................................................................ Su 12 Hippie Sabotage ........................................................................................... W 15 Katatonia w/ Caspian & Uncured .................................................................. Th 16 Galactic w/ Con Brio ........................................................................................ F 17 Galactic featuring Corey Glover w/ The Hip Abduction ..................................Sa 18 Tennis w/ Rolling Blackouts Coastal Fever .................................................... Su 19 Modern Baseball w/ Kevin Devine & The Goddamn Band • Sorority Noise • The Obsessives ...... Tu 21

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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 Basecamp w/ Lauv ........................F JAN 27 Book of Love ..................................... Sa 11 Tim Presley & Cate Le Bon ........... Sa 28 Mickey Avalon .................................... F 17 ALL GOOD PRESENTS Moon Hooch w/ Honeycomb ..........W FEB 1 Lisa Hannigan................................... Th 23 Escort .....................................................F 3 Kap G & JR Donato .......................... Sa 25 • Buy advance tickets at the 9:30 Club box office

STORY DISTRICT’S

Sucker for Love: A Valentine’s Day Special ............................................FEBRUARY 11

Tinder Live! with Lane Moore w/ Alexandra Petri ..................FEBRUARY 14 I.M.P. & ALL GOOD PRESENT

Leo Kottke & Keller Williams .................................................FEBRUARY 18 Hayes Grier & The Boys........................................................................FEBRUARY 20 MURRAY & PETER PRESENT

The Naked Magicians 18+ to enter. ..................................................FEBRUARY 24 TWO EVENINGS WITH

The Magnetic Fields: 50 Song Memoir ............................. MARCH 18 (Songs 1-25) & MARCH 19 (Songs 26-50)

Lisa Lampanelli ..................................................................................... SAT APRIL 8 Welcome To Night Vale w/ Erin McKeown ........................................... APRIL 13 Aimee Mann ................................................................................................... APRIL 20 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Brian Wilson presents Pet Sounds : The Final Performances

with special guests Al Jardine and Blondie Chaplin....................................................... MAY 4

AN EVENING OF STORYTELLING WITH

Garrison Keillor ........................................................................................... MAY 21 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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 Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

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!

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

26 january 27, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

A HIP HOP, FUNK & AFRO FUTURISTIC SET with Baronhawk Poitier

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

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DAY PARTY

Music 27 Theater 31

Music

Film 32

CITY LIGHTS: Friday

Friday rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Gypsy Jam 3.0 featuring Covered with Jam, The Cactus Liquors, Gypsy Soul Revival. 8:30 p.m. $12–$15. gypsysallys.com.

Rock & Roll Hotel 1353 H St. NE. (202) 388-7625.

Staycation, Drop Electric, Sunbathers. 9 p.m. $12. rockandrollhoteldc.com.

dJ Nights

FillmoRe silveR spRinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Emo Night Brooklyn with DJ Ryan Key of Yellowcard. 8:30 p.m. $12. fillmoresilverspring.com.

classical

kennedy centeR millennium staGe 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

go-go

BetHesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Chuck Brown Band. 8 p.m. $25. bethesdabluesjazz.com.

couNtry

9:30 cluB 815 V St. NW. (202) 265-0930. The Infamous Stringdusters, The Brothers Comatose. 7 p.m. $25. 930.com.

Jazz

amp By stRatHmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chaise Lounge. 8 p.m. $25–$35. ampbystrathmore.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Angela Winbush. 8 p.m.; 10 p.m. $60. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. The Noah Haidu Quartet. 9 p.m.; 11 p.m. $15. twinsjazz.com.

ElEctroNic

giNuWiNE

There are few intros in R&B more iconic than that of Ginuwine’s “Pony.” When the first note of Timbaland’s vocoded bass line hits, everyone in the building knows what comes next. The 1996 hit is a bump-and-grind anthem, soundtracking plenty of nights on the dance floor and in the bedroom. It found new life in the last few years, due in part to a general wave of ’90s nostalgia, but mostly because of its use in the Magic Mike movies. Thankfully, Ginuwine is still around to capitalize on the interest, not just in “Pony,” but in the other hits of his two-decade career, including “So Anxious,” “Differences,” and “In Those Jeans.” And as he returns home to D.C. to perform at The Howard Theatre, he sounds confident in his adulthood. “I’m not going to try to be too young because at the end of the day, I’m not 20 anymore. I don’t want to sound corny or look corny doing young things,” he said in an interview last year. “All the stuff that the kids are doing, that’s not my place. I believe that everyone followed me back then, they’re still here.”

Ginuwine performs with Tray Chaney at 8 p.m. at the Howard Theatre, 620 T St. NW. $35–$60. (202) 803-2899. thehowardtheatre.com.

—Chris Kelly tHe Hamilton 600 14th St. NW. (202) 787-1000. The Alternate Routes, Me and My Brother. 8 p.m. $15–$20. thehamiltondc.com.

WITH DJ KEENAN ORR

u stReet music Hall 1115 U St. NW. (202) 588-1889.

Wethan, Party Pupils, Kwon. 10:30 p.m. $10. ustreetmusichall.com.

2 - 6pm

iota cluB & caFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Chopteeth Afrofunk Big Band. 9 p.m. $15. iotaclubandcafe.com.

Rock & Roll Hotel 1353 H St. NE. (202) 388-7625.

Handsome Hound, Humble Fire, Josh Miller. 8 p.m. $12. rockandrollhoteldc.com.

u stReet music Hall 1115 U St. NW. (202) 588-1889.

Basecamp, Lauv. 7 p.m. $15. ustreetmusichall.com.

sixtH & i HistoRic synaGoGue 600 I St. NW. (202) 408-3100. Mogwai. 9 p.m. $30–$35. sixthandi.org.

saturday

u stReet music Hall 1115 U St. NW. (202) 588-1889.

Tim Presley, Cate Le Bon. 7 p.m. $15. ustreetmusichall.com.

First Sunday every month

FuNk & r&B

HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Ginuwine, Tray Chaney. 8 p.m. $35–$60. thehowardtheatre.com.

rock

2047 9th Street NW located next door to 9:30 club

BetHesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. 2nd Annual Thanks For The Memories 2016 Tribute Show. 8 p.m. $20. bethesdabluesjazz.com.

Black cat 1811 14th St. NW. (202) 667-4490. Austra, Ela Minus. 8 p.m. $18–$20. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Bond St District, Chiffon, Kotic Couture. 9 p.m. $12. dcnine.com.

iota cluB & caFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Classic Albums 1969 with Alex Vans, Jonny Grave, and Oh He Dead. 8:30 p.m. $12. iotaclubandcafe.com.

hip-hop

kennedy centeR millennium staGe 2700 F St. NW. (202) 467-4600. Ivy Sole. 6 p.m. Free. kennedy-center.org.

Folk

BiRcHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Four Bitchin’ Babes. 7:30 p.m. $35. birchmere.com.

BluEs

amp By stRatHmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. James “Blood” Ulmer. 8 p.m. $30–$40. ampbystrathmore.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Angela Winbush. 8 p.m.; 10 p.m. $60. bluesalley.com. kennedy centeR atRium 2700 F St. NW. (202) 4674600. Jason and Jyoti: Muldrow Meets Mingus. 8 p.m. $30. kennedy-center.org. twins Jazz 1344 U St. NW. (202) 234-0072. The Noah Haidu Quartet. 9 p.m.; 11 p.m. $15. twinsjazz. com.

ElEctroNic

ecHostaGe 2135 Queens Chapel Road NE. (202) 503-2330. DVBBS, Lost Kings. 9 p.m. $25–$30. echostage.com.

FlasH 645 Florida Ave. NW. (202) 827-8791. Martyn, Doubtingthomas, Throe. 8 p.m. $8–$12. flashdc.com.

RHizome dc 6950 Maple St. NW. Max Eilbacher, Ian Douglas-Moore, Paul N. Roth, Headband, Jax Deluca.

8 p.m. $10. rhizomedc.org.

washingtoncitypaper.com january 27, 2017 27

U Street MUSic Hall 1115 U St. NW. (202) 5881889. Claptone, Matt Nordstrom. 10:30 p.m. $10–$15. ustreetmusichall.com.

FUnk & R&B

GypSy Sally’S 3401 K St. NW. (202) 333-7700. The New Stew, Corey Glover, Roosevelt Collier, Yonrico Scott, Dave Yoke, Jared Stone, Matt Slocum. 9 p.m. $18–$20. gypsysallys.com.

Howard tHeatre 620 T St. NW. (202) 803-2899.

Morris Day & The Time. 8 p.m. $45–$75. thehowardtheatre.com.

SUnDAY Rock

9:30 clUb 815 V St. NW. (202) 265-0930. G. Love & Special Sauce, Ripe. 7 p.m. $30–$99. 930.com.

FillMore Silver SprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Falling In Reverse, Issues, Motionless In White, Dangerkids, Dead Girls Academy. 6 p.m. $27.50. fillmoresilverspring.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

Eric Krasno Band, The Marcus King Band. 7:30 p.m. $20–$25. thehamiltondc.com.

coUnTRY

bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Phil Vassar, Ayla Brown. 7:30 p.m. $45. birchmere.com.

BlUeS

iota clUb & caFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Lato. 8 p.m. $10. iotaclubandcafe.com.

JAzz

betHeSda blUeS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Art Sherrod, CeCe Peniston. 7:30 p.m. $35. bethesdabluesjazz.com. blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Akua Allrich & The Tribe. 8 p.m.; 10 p.m. $25. bluesalley.com. twinS Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $10. twinsjazz.com.

MonDAY Rock

Galaxy HUt 2711 Wilson Blvd., Arlington. (703) 5258646. Steve Schillinger, Paul Santori’s Random Opponent. 9 p.m. $5. galaxyhut.com.

VocAl

tHe HaMilton 600 14th St. NW. (202) 787-1000. Jeff Dwyer. 7:30 p.m. $14.75–$39.75. thehamiltondc.com.

Kennedy center MillenniUM StaGe 2700 F St. NW. (202) 467-4600. Gondwana Chorale. 6 p.m. Free. kennedy-center.org.

clASSicAl

Kennedy center atriUM 2700 F St. NW. (202) 4674600. Mason Bates’s KC Jukebox: Ravishment. 7:30 p.m. $20. kennedy-center.org.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Brad Goode Quintet featuring Ernie Watts and Adam Nussbaum. 8 p.m.; 10 p.m. $30. bluesalley.com.

CITY LIGHTS: SATURDAY

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28 january 27, 2017 washingtoncitypaper.com

TONY CONRAD: COMPLETELY IN THE PRESENT

We lost so many great artists in 2016 that it’s hard to recall all those who died in the past 12 months.

Such is the case with Tony Conrad, who I completely forgot left us last year just a few weeks before Prince’s untimely death. It’s hard to put Conrad’s impact on and contribution to modern art into words, which is why filmmaker Tyler Hubby made a documentary about him. A product of New York’s 1960s underground art and music scene, Conrad first got into music when he, John Cale, Walter de Maria, and Lou Reed were tapped by Pickwick Records to form a new group, The Primitives. That band only lasted a few shows, with Reed and Cale moving on to form a little group called The Velvet Underground, but it led to Conrad’s long and storied career as an experimental musician and artist. As an early member of the Theatre of Eternal Music, Conrad helped pioneer drone music. But as Hubby’s film deftly shows, Conrad was never one to limit his creative genius.

His contributions in the world of film and visual art are just as significant as his musical ones. The film shows at 2 p.m. at the National Gallery of Art East Building Auditorium, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov.

—Matt Cohen

CITY LIGHTS: SUNDAY

CONNOR CHRISTIAN THURS., FEB. 16 ~ 8:30PM TIX: $10-$15

JANUARY

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PILOBOLUS

Experimental movement ensemble Pilobolus specializes in telling stories through shadows, with its members bending their bodies and adjusting lights to convey a narrative to the audience. At the 2007 Academy Awards, the dancers climbed on top of one another and turned their bodies into penguins, a high-heeled shoe, and a VW bus to represent that year’s nominated films. In Shadowland, making its debut this weekend at Lisner Auditorium, the company tells the story of a young girl who is swallowed up by darkness and finds herself trapped in the titular area. The show was conceived by Pilobolus dancers in collaboration with Steven Banks, a former head writer for SpongeBob SquarePants, and musical accompaniment comes from David Poe, a composer who’s scored seven films and collaborated with Regina Spektor. While all Pilobolus performances could be called multimedia productions, Shadowland, with its elaborate storytelling, engaging soundtrack, and total command of the stage in front of and behind the screen, incorporates nearly every kind of art imaginable. Pilobolus performs at 2 p.m. at Lisner Auditorium at George Washington University, 730 21st St. NW. $25–$45. (202) 994-6800. lisner.gwu.edu.

—Caroline Jones

CITY LIGHTS: MONDAY

MASON BATES’ KC JUKEBOX: RAVISHMENT

Composer Mason Bates bridges the diverse gaps in the music world like few other artists. The San-Francisco based composer and DJ—and first-ever Kennedy Center “composerin-residence”—crafts pieces that span the landscape of the modern music world and reinterprets the Western art music canon to make it suitable for dance floors, rock arenas, and jazz clubs in addition to concert halls. In this installment of his KC Jukebox series, Bates pays tribute to contemporary composer John Adams on his 70th birthday. The title work of tonight’s event is Bates’ dreamy interpretation of Adams’ second quartet piece, “Ravishment,” but he doesn’t stop there. A jukebox holds many musical gems, so Bates is joined by a plethora of other artists who also honor John Adams. Adams’ student Gabriella Smith joins in the tributes with her own piece, “Carrot Revolution;” celebrated composer and vocalist Lia Bielawa brings her own interpretation of “Ravishment;” cutting edge composer Chris Cerrone plays his own haunting electronica work, “The Night Mare;” and young composer David Hertzberg adds some whimsy to the proceedings with his new work, “Ellébore.” It’s a smorgasbord of classical music, accompanied by Bates’ thoughtful, engaging multimedia presentation. The concert begins at 7:30 p.m. at the Kennedy Center Atrium, 2700 F St. NW. $20. (202) 467-4600. kennedy-center.org. —Jackson Sinnenberg

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JOEY VEGA THE CHUCK BROWN BAND 2ND ANNUAL THANKS FOR THE MEMORIES 2016 TRIBUTE SHOW ART SHERROD FEAT. CECE PENISTON FEBRUARY

THE AFTER PARTY BAND LOCK 7 & THE MIGHTY PEACE MAKERS BILL LAURANCE OF “SNARKY PUPPY” BUDDY HOLLY TRIBUTE SHI-QUEETA-LEE’S DRAG TAILGATE BRUNCH JUNIOR MARVIN’S WAILERS B-DAY CELEBRATION SHIRLEY JONES DENIECE WILLIAMS SYLEENA JOHNSON LOVE HOLIDAY W/JEFF

BRADSHAW & FRIENDS (7/10PM)

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THE BAR KAY’S & BRICK ANGIE STONE (7/10PM) THE ROSSLYN MT. BOYS

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SHAKESPEARE, REESA RENEE & HOSTED BY CAROLYN MALACHI

PLUS BOB PERILLA’S BIG HILLBILLY BLUEGRASS JUST ANNOUNCED T 3/7 RICKIE LEE JONES & MADELEINE PEYROUX F 3/17 ST. PATRICK’S DAY W/ O’MALLEY’S MARCH SU 3/19 WE ARE ONE TRIBUTE X-PERIENCE BAND F 4/14 DC STREET CORNER HARMONY – THE CLOVERS, SPANIELS & JEWELS F 4/7 GINO VANNELLI SU 4/9 ELAN TROTMAN & BRIAN SIMPSON 7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

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JAN / FEB SHOWS THU 26

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THE 9

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DANCE / ELECTRO / RETRO

AUSTRA & THE FIZZ

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AND THE CITY

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JUNIOR BROWN

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THE FOUR BITCHIN’ BABES

Debi Smith, Sally Fingerett, Deirdre Flint, Megon McDonough

Ayla PHIL VASSAR (Band) Brown Feb 3 MARSHALL CRENSHAW & THE BOTTLE ROCKETS JUSTIN HAYWARD 8

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THE RADIO DEPT DARKEST HOUR

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TODD SNIDER

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HARMONY SWEEPSTAKES A CAPPPELLA FESTIVAL

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VICTOR WOOTEN TRIO THE feat. Dennis Chambers & Bob Franceschini

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GAELIC STORM 2 THE TIME JUMPERS 3&4

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“It’s Never Too Late Tour” with JOE ROBINSON

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ROSANNE CASH LAURIE ANDERSON

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Actress Connie Britton has spent the last year busy with the revival of her country music soap opera Nashville and her delightfully twisted take on Faye Resnick in American Crime Story: The People vs. O.J. Simpson. But Britton still manages to find time to support the causes she believes in, be it by appearing in videos presented at the Democratic National Convention or working as a goodwill ambassador for the United Nations Development Programme. In that capacity, Britton works to empower women and promote economic development. She did much of the same in her role as Tami Taylor on Friday Night Lights, but at the Natural History Museum she’ll focus more on her work off camera. When she speaks with NPR’s Linda Holmes, expect the talk to veer toward political topics but know that it’s impossible for Britton to not bring some lightness to whatever discussion she has. Connie Britton speaks at 6:45 p.m. at the National Museum of Natural History Baird Auditorium, 10th Street and Constitution Avenue NW. $35. (202) 633-3030. smithsonianassociates.org.

—Caroline Jones

tuEsday rock

FillmoRe silveR spRinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Lukas Graham, Hein Cooper. 8 p.m. $29.95. fillmoresilverspring.com.

gospEl

HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Harlem Gospel Choir Sings Adele. 8 p.m. $22–$45. thehowardtheatre.com.

FuNk & r&B

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Tee “SYLK” Harris. 8 p.m.; 10 p.m. $20. bluesalley.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

J Boog, Jo Mersa Marley, Jemere Morgan. 7:30 p.m. $17.25–$20.75. thehamiltondc.com.

WEdNEsday rock

9:30 cluB 815 V St. NW. (202) 265-0930. White Lies, Vowws. 7 p.m. $25. 930.com.

thursday rock

BetHesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Lock 7, The Mighty Peacemakers. 8 p.m. $5. bethesdabluesjazz.com.

Black cat BackstaGe 1811 14th St. NW. (202) 6674490. Allison Crutchfield & The Fizz, Radiator Hospital, Pinkwash. 7:30 p.m. $12–$15. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. The Mosty Dead, Free Children of Earth, Full Monty. 8:30 p.m. $8. dcnine.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Stealing Liberty, The Brokedown Boys. 8:30 p.m. $8. gypsysallys.com.

classical

kennedy centeR conceRt Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra, with conductor Christoph Eschenbach, performs Beethoven’s Eighth Symphony and Tchaikovsky’s Serenade for Strings. 7 p.m. $15–$89. kennedy-center.org.

FillmoRe silveR spRinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Aaron Lewis, Midland, Travis Marvin. 8 p.m. $31.50. fillmoresilverspring.com.

music centeR at stRatHmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra performs Bruckner’s Symphony No. 4. 8 p.m. $35–$99. strathmore.org.

u stReet music Hall 1115 U St. NW. (202) 588-1889.

Moon Hooch, Honeycomb. 7 p.m. $18. ustreetmusichall.com.

univeRsity oF tHe distRict oF columBia tHeateR oF tHe aRts 4200 Connecticut Ave. NW. (202) 274-5900. Danish String Quartet. 8 p.m. $47. udc.edu.

COLIN HAY 14 LADYSMITH BLACK MAMBAZO

Folk

VANESSA CARLTON 17 CHRIS KNIGHT & WILL HOGE TOM RUSH 18 20&21 CHRIS BOTTI

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Vincent Ingala. 8 p.m.; 10 p.m. $25. bluesalley.com.

9:30 cluB 815 V St. NW. (202) 265-0930. Greensky Bluegrass, Fruition. 7 p.m. $26.50. 930.com.

twins Jazz 1344 U St. NW. (202) 234-0072. Nathan Hook. 8 p.m.; 10 p.m. $10. twinsjazz.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Corey Harris Rasta Blues Experience. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

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coNNiE BrittoN

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

Tix @ Ticketmaster.com 800-745-3000

THE WIND OF HEAVEN TOUR w/Mike Dawes

INDIE POP DANCE PARTY

CITY LIGHTS: tuEsday

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30 january 27, 2017 washingtoncitypaper.com

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Honey Dewdrops, Caleb Stine Band. 8 p.m. $8. gypsysallys.com.

Jazz

ElEctroNic

HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Black Tiger Sex Machine, Kai Wachi, Dabin. 9 p.m. $20–$30. thehowardtheatre.com.

World

Bossa BistRo 2463 18th St NW. 202-667-0088.

Feedel Band. 9:30 p.m. $5. bossadc.com.

couNtry BluEs

ElEctroNic

soundcHeck 1420 K St. NW. (202) 789-5429. Goldroom. 10 p.m. $20. soundcheckdc.com.

CITY LIGHTS: WEdNEsday

I WANNA FUCKING TEAR YOU APART

If drama is meant to capture the world we live in, then it was only a matter of time before a play came out that examined our television watching habits. In I Wanna Fucking Tear You Apart, Morgan Gould’s new play premiering at Studio Theatre this month, the couch potatoes in question are Leo and Samantha, a gay man and his female roommate whose days revolve around binging Shonda Rhimes shows and making self-deprecating comments. The set-up is far from perfect—both admit to feeling rage toward the other one on any given day—but it works for them. When a new friend arrives, thereby changing the cozy, lazy rapport that defines the roommates’ relationship, Samantha and Leo have to figure out a new way to cope. A tribute to the passive-aggressive ways in which friends tell friends they care, Gould’s work should resonate widely with audiences. Go see it with a pal you love; just don’t scream at each other in the lobby as you leave. The play runs Feb. 1 to Feb. 19 at Studio Theatre, 1501 14th St. NW. $20–$55. (202) 332-3300. studiotheatre.com.

—Caroline Jones u stReet music Hall 1115 U St. NW. (202) 5881889. Valentino Khan, Billy the Gent. 10:30 p.m. $12. ustreetmusichall.com.

Theater

as you like it When Rosalind is banished from her home and flees to the forest, one of the Bard’s great romantic comedies begins. The classic tale of mistaken identities, love, and beauty comes to life at the Folger under the direction of Gaye Taylor Upchurch.

Folger Elizabethan Theatre. 201 E. Capitol St. SE. To March 5. $35–$75. (202) 544-7077. folger.edu.

BaBy scReams miRacle A woman finds herself trapped with her estranged family during a wild storm as their home collapses and the world falls apart around them. Clare Barron’s new play comes to life at Woolly under the direction of Howard Shalwitz.

Woolly Mammoth Theatre. 641 D St. NW. To Feb. 26. $20–$54. (202) 393-3939. woollymammoth.net. caRoline, oR cHanGe Set in 1960s Louisiana, this Tony Kushner musical chronicles the relationship between a black maid and the white boy who she cares for. As the characters sing about historical figures and events of the time, tensions boil over when a small amount of money goes missing. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Feb. 26. $56–$76. (240) 644-1100. roundhousetheatre.org. cHaRm Set at a LGBTQ community center, this play follows Mama Darleena Andrews, a black trans woman who teaches etiquette classes to a diverse ensemble of characters. While they struggle to understand the importance of manners and charm at first, “Mama Darlin” shows them how their behavior can affect their future goals. Natsu Onoda Power directs this award-winning play, which features performances from local favorites Kimberly Gilbert, B’Ellana Marie Duquesne, and Justin Weaks. Atlas Performing Arts Center. 1333 H St. NE. To Jan. 29. $20–$60. (202) 399-7993. atlasarts.org. copenHaGen Michael Frayn’s drama about a conversation between Werner Heisenberg and Niels Bohr, two physicists racing to create the atom bomb, aims to answer questions that historians have puz-

zled over for decades. This production, directed by Eleanor Holdridge, stars Sherri Edelen, Tim Getman, and Michael Russotto. Theater J. 1529 16th St. NW. To Jan. 29. $17–$47. (202) 777-3210. theaterj.org. tHe Gin Game Roz White and Doug Brown star in the Pulitzer Prize-winning drama that takes place over a game of gin rummy. As the action rises, their interactions become more intense and more details about their relationship are revealed. MetroStage. 1201 N. Royal St., Alexandria. To March 12. $55–$60. (703) 548-9044. metrostage.org. tHe HaRd pRoBlem Studio Theatre returns to the work of Tom Stoppard with this drama about a psychology researcher who tries to define consciousness and get wrapped up in trying to understand her past. Matt Torney directs this production starring Nancy Robinette, Tessa Klein, and Joy Jones. Studio Theatre. 1501 14th St. NW. To Feb. 19. $20–$96. (202) 332-3300. studiotheatre.org.

Hooded: oR, BeinG Black in BaltimoRe Serge Seiden directs this world premiere production from emerging playwright Tearrance Arvelle Chisholm.

Set in Baltimore and influenced by the Trayvon Martin case, this new comedy riffs on mistaken identity, incarceration, and being black on a privileged college campus. Atlas Performing Arts Center. 1333 H St. NE. To Feb. 19. $20–$60. (202) 399-7993. atlasarts.org. i wanna FuckinG teaR you apaRt Morgan Gould dissects the inner workings of friendships in this comedy. When a new friend comes between two pals’ pattern of self-loathing and TV binging, they’re forced to confront the self-destructive patterns that define their relationship. Studio Theatre. 1501 14th St. NW. To Feb. 19. $20–$55. (202) 332-3300. studiotheatre.org. last tRain to niBRoc Two young people meet on a train that’s carrying the bodies of F. Scott Fitzgerald and Nathanael West in this slight romance from playwright Arlene Hutton. One traveler aims to become a writer while one considers a career on the mission fields but as they connect over time, viewers learn the depth of their feelings for one another. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Feb. 19. $50–$60. (240) 5820050. stageguild.org. mack, BetH Chris Stezin adapts one of Shakespeare’s most vicious dramas into a thriller for the cyber age. This new take on the tale about greed and ambition makes its world premiere in D.C. under the direction of Matt Ripa. Keegan Theatre at

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“THE BEST PICTURE O F T H E Y EA R ”

CITY LIGHTS: thursday

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Pop music isn’t that far removed from the world of punk. On its legs, punk is musical catharsis—raw emotion and energy channeled through power chords and a raucous scream.

Pop music is basically that, but presented in a more refined style. No one understands that better than Allison Crutchfield, who cut her teeth on the DIY punk circuit touring with her bands P.S. Eliot (with her sister Katie who now performs solo as Waxahatchee) and Swearin’.

But on her solo debut, Tourist in This Town, Crutchfield emerges as a bonafide pop artist—and a sensational one at that. Opening track “Broad Daylight” begins with a soulful, Whitney Houston-esque vocal solo before the synths kick in. It sets the tone for an album that has all the hallmarks of a pop classic: big choruses, endless hooks, shimmering synths, and impossibly catchy melodies. But above all, it’s an album that oozes with emotion—and that’s something that transcends genres.

Allison Crutchfield & The Fizz perform with Radiator Hospital and Pinkwash at 7:30 p.m. at The Black Cat, 1811 14th St. NW. $12–$15. (202) 667-4490. blackcatdc.com.

—Matt Cohen

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Church Street Theater. 1742 Church St. NW. To Feb. 11. $35–$45. (202) 265-3767. keegantheatre.com. tHe RiveR A man and a woman spend a night together at a fishing cabin and try to capture the magic of love in this mysterious drama. Rebecca Holderness directs this play by Jez Butterworth. Spooky Action Theater. 1810 16th St. NW. To Feb. 26. $20–$40.

(202) 248-0301. spookyaction.org.

Roe Lisa Loomer’s world premiere play looks at both sides of the abortion issue through the lens of Norma McCorvey, the woman who, under the alias Jane Roe, helped secure abortion rights for all women in the landmark Supreme Court case. Narrated by Norma and her attorney, Sarah Weddington, the drama follows the pair past the oral arguments to see what happens after laws and opinions are changed. Arena Stage. 1101 6th St. SW. To Feb. 19. $40–$90. (202) 4883300. arenastage.org. someone is GoinG to come In this stirring drama presented by Scena Theater, a couple seeking solitude buys a house in a secluded area but grows increasingly anxious that an unexpected visitor may arrive at any moment. Robert McNamara directs this psychological play by Norwegian playwright Jon Fosse, which Scena first workshopped in 2014.

Atlas Performing Arts Center. 1333 H St. NE. To Feb. 5. $20–$40. (202) 399-7993. atlasarts.org. titanic: tHe musical The stirring musical about the sinking of the famous ocean liner is reimagined at Signature by director Eric Schaeffer. Designed to be performed in the round, the production tells the story of the ship’s final minutes. Signature Theatre. 4200 Campbell Ave., Arlington. To Jan. 29. $40–$108. (703) 820-9771. sigtheatre.org. wHo’s aFRaid oF viRGinia woolF? Local favorites Holly Twyford and Gregory Linington star in Edward Albee’s classic drama about a tumultuous marriage and a highly tense dinner party. Aaron Posner directs this masterclass in verbal sparring that also features Maggie Wilder and Danny Gavigan.

Ford’s Theatre. 511 10th St. NW. To Feb. 19. $15–$62.

(202) 347-4833. fords.org. yo tamBién HaBlo de la Rosa (i too speak oF tHe Rose) Two teenagers skip school and end up derailing a train, leading to a long discussion of if and how they should be punished in this contemporary drama. GALA Artistic Producing Director Hugo Medrano directs this landmark work by Mexican play-

wright Emilio Carbadillo, performed in Spanish with English surtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Feb. 26. $22–$95. (202) 234-7174. galatheatre.org.

Film

BastaRds Ed Helms and Owen Wilson play twin brothers who set off on a cross-country road trip to find their biological father in this comedy from director Lawrence Sher. Also starring Glenn Close, J.K. Simmons, Katie Aselton, and Terry Bradshaw. (See washingtoncitypaper.com for venue information) a doG’s puRpose A reincarnated dog, who changes breeds and form every time he dies, considers his life and the merits of his different owners in this drama based on the book by W. Bruce Cameron. Starring Dennis Quaid, Josh Gad, and Peggy Lipton. (See washingtoncitypaper.com for venue information) tHe FoundeR Michael Keaton plays Ray Kroc, the scheming salesman who turned the McDonald brothers’ small California hamburger shack into a worldwide brand, in this biopic that also stars Laura Dern, Nick Offerman, and Patrick Wilson. (See washingtoncitypaper.com for venue information) Gold Matthew McConaughey plays a down-on-hisluck businessman who teams up with a geologist to find gold in the Indonesian jungle in this crime drama.

Directed by Stephen Gagan. (See washingtoncitypaper.com for venue information) tHe Red tuRtle Michael Dudok de Wit makes his feature directing debut with this dialogue-less animated film about a castaway who survives on a desert island surrounded by fish, birds, and turtles. (See washingtoncitypaper.com for venue information) toni eRdmann A father attempts to reconnect with his hard-working, ambitious daughter by posing as an assistant to her company’s CEO. This Romanian film is written and directed by Maren Ade. (See washingtoncitypaper.com for venue information)

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2015 ADM 1198 Estate of: Colleen R. Prince - Deceased.

Notice of Standard Probate (For estates of decedents dying on or after July 1, 1995) Notice is hereby given that a petition has been filed in this court

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Comic Book & Sports Card Show SUNDAY JANUARY 29 10am-3pm at the Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 Admission Adults $3 ; under 18 Free with this ad ; The 6,000 + sq ft Hall will be full of dealers selling Gold, Silver, Bronze & Modern Age Comic Books, Nonsports cards from the 1880â&#x20AC;&#x2122;s to the present, Pokemon & Magic cards, Pop Toys, Super Heroes jewelry & toys, Hobby Supplies, Plus Baseball, Football, Basketball & Hockey cards vintage to the present and sports autographs & memorabilia Info: shoffpromotions.com

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