Washington City Paper (February 8, 2019)

CITYPAPER WASHINGTON

FREE VOLUME 39, NO. 6 WASHINGTONCITYPAPER.COM FEB. 8-14, 2019

POLITICS: A MINISTER TURNS DOWN A PLEA DEAL 5 NEWS: DISPATCHES FROM TROUBLED D.C. AGENCIES 6 ARTS: A GO-GO STAR LOOKS TO R&B IN RETIREMENT 14

How St. John’s Azzi Fudd, a shy kid who didn’t want to try new things, became the face of girls’ high school basketball P. 8

By Kelyn Soong Photographs by Darrow Montgomery

Zilia Sánchez SOY ISLA (I AM AN ISLAND) February 16-May 19, 2019

PhillipsCollection.org Corner of 21st and Q NW

The exhibition is organized

by The Phillips Collection.

With lead exhibition support and a Curatorial Fellowship from The Andy Warhol Foundation for the Visual Arts

Generous funding is provided by the Diane & Bruce Halle Foundation.

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Additional support is provided by the Ednah Root Foundation, the Marion F. Goldin Charitable Fund, the Lichtenberg Family Foundation, PHILLIPS, and the DC Commission on the Arts and Humanities, which receives support from the National Endowment for the Arts, and from the Frauke and Willem de Looper Charitable Fund.

The artist documentary on Zilia Sánchez is made possible by Beatriz Bolton and the Dosal Family Foundation.

In-kind support is provided by

Zilia Sánchez, Topología (Topology), from the series Tatuajes (Tattoos) (detail), 1993, Acrylic on stretched canvas, 47 x 46 3/4 x 14 1/2 in., Collection of the artist, Courtesy Galerie Lelong & Co., New York

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COVER STORY: BREAKAWAY

8

Off the court, St. John’s sophomore Azzi Fudd is a reserved 16-year-old. On the court, she’s one of the nation’s top basketball recruits.

DISTRICT LINE 4 Housing Complex: Did the social services organization staffing the Ward 7 shelter falsify personnel records and misrepresent its legal history?

5 Loose Lips: The suspect financial records of a former Ward 8 Democrats leader have led to a federal indictment.

6 Authority Reconfigure: Brianne Nadeau introduces legislation to strip the D.C. Housing Authority of its independent status.

6 It’s the Climb: Bowser’s nominee to lead DCRA will have to transform the District’s most reviled agency.

FOOD 13 Sauce-O-Meter: The latest news from the food world, ranked 13 Top of the Hour: Half-priced dips at Zorba’s Cafe in Dupont Circle 13 Spice Route: Bombay Street Food’s Campaign to Inflame

DARROW MONTGOMERY

ARTS 14 Exit Scene: Go-Go star Donnell Floyd prepares for retirement.

16 Film: Our critics weigh in on this year’s Oscar-nominated shorts.

18 Curtain Calls: Ritzel on Ain’t Misbehavin’ at Signature Theatre 19 Sketches: Capps on Glenn Ligon: To be a Negro in this country is really never to be looked at at Georgetown University 20 Sketches: Armstrong on Cairn Sounds at Hamiltonian Gallery 21 Discography: West on Reginald Cyntje’s Rise of the Protester

CITY LIST 23 Music 27 Theater 28 Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword

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EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: MATT COHEN FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG CITY LIGHTS EDITOR: KAYLA RANDALL LOOSE LIPS REPORTER: MITCH RYALS HOUSING COMPLEX REPORTER: MORGAN BASKIN STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MCENTEE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, SIDNEY THOMAS, DAN TROMBLY, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE Human Resources

A social services organization serving D.C.’s homeless is under investigation for apparently falsifying personnel records. Did it also misrepresent its legal history?

By Morgan Baskin Trouble conTinues To roil The Horizon, a Ward 7 homeless shelter that opened just last fall. The Department of Human Services discovered that the social services nonprofit tapped to run the shelter’s day-to-day operations appeared to falsify critical employee information.

A DHS official told City Paper last week that an internal audit of Life Deeds, the Wa r d 7 -b a s e d nonpro fit that manages the shelter, indicates that the company may have falsified personnel files, including background checks, TB tests, and drug screenings. Life Deeds’ executive director Allieu Kamara denies these allegations.

The agency’s investigation is ongoing, a spokesperson says, and will also extend to a separate contract Life Deeds holds with the city to run a transitional housing program for youth who have been in contact with D.C.’s court system. Together, Life Deeds has won city contracts in recent years that total close to $5 million.

On Jan. 28, DHS says, it began sending its own staff to the shelter to either replace or support Life Deeds employees. The agency completely replaced Life Deeds’ security and monitoring teams as well as some of its case managers, adding case managers from the agency’s Family Services Administration.

“Proper background documentation is crucial to ensuring that the staff members who serve our families at The Horizon are qualified to do so,” a spokesperson for DHS tells City Paper in a written statement.

Last week, Kamara said that his organization has a “good” relationship with DHS, and that the agency has not dismissed any of his staff members from The Horizon. He blamed “disgruntled” ex-employees for fabricating the allegations against his organization, which he denies. Kamara did not answer City Paper’s subsequent calls for this article, and his office’s

Darrow Montgomery/File

HOUSING COMPLEX

voice mailbox was full.

One longtime D.C. social services provider, who is familiar with the contract solicitation and procurement process for District-run shelter sites, tells City Paper that, generally speaking, DHS does not receive extensive personnel information—including the kinds of documents Life Deeds allegedly falsified— upfront. Instead, they’re typically files kept onsite that the organization would have to produce for an audit.

Information that an organization must submit to the city when responding to a solicitation includes the group’s mission statement, projected budget, a staff list with job descriptions (“the contract requires certain credentialing for some positions, and that should be reflected in job description,” the social services provider says), and information about any previous contracts with the city. There is also an item that asks applicants to list any pending corrective actions.

The Office of Contracting and Procurement’s bidder-offeror certification form asks applicants to self-report any pending or closed investigations. One question asks whether the bidder has, in the last five years, “been charged with a misdemeanor or fel-

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ony, indicted, granted immunity, convicted of a crime, or subject to a judgment or plea bargain for: (a) any business-related activity; or (b) any crime the underlying conduct of which was related to truthfulness?”

City Paper found D.C. Superior Court records that show Kamara and Life Deeds have been subject to civil judgments for businessrelated activity. In 2014, a Life Deeds employee sued Kamara in small claims court for $1,532 in unpaid wages. “I have made repeated attempts to contact the Defendant but have yet to receive the monies owed,” the plaintiff wrote. (City Paper reached out to the plaintiff but did not receive a reply.) Court records show that Kamara agreed in mediation to pay the plaintiff the owed funds.

The same year, another former Life Deeds employee sued Life Deeds for $200,000. The plaintiff in that case, Amanda Hayes, alleged that a senior-level Life Deeds employee encouraged her to relocate from North Carolina to D.C. so that Hayes could accept a position at Life Deeds. The senior-level employee “stated her belief that Plaintiff, given her skills and experience, was uniquely qualified for a position with Life Deeds [and] stated to Plaintiff that if she was willing to relocate to the D.C.

Metropolitan area, the Defendant would offer her an employment position,” Hayes alleged in the complaint.

Hayes left her job at a human services organization in North Carolina to accept a job at Life Deeds with a $49,000 annual salary.

It further alleges that Life Deeds sent Hayes an offer letter dated Aug. 19, 2013 stating that her first day would be Sept. 9. But Life Deeds “engaged in an ongoing pattern of delaying the start date” for Hayes, she alleged. By November, she still had not started her job there.

Hayes further alleges that after meeting with Kamara in the Life Deeds office that November, Life Deeds “ceased all communications with Plaintiff, despite numerous phone calls and emails” to Kamara, who “completely ignored Plaintiff.”

A judge eventually ordered the organization to pay Hayes $36,895—about $27,000 in lost wages, $9,200 for rental payments, and $600 for compensatory damages.

DHS either did not know about these lawsuits or did not consider them serious enough indicators of the company’s performance to impede its ability to serve the shelter. When asked whether Kamara disclosed Life Deeds’ legal history on OCP’s bidderofferor certification form, a DHS spokesperson said that the agency “did ask about—in the last five years, has the organization had any judgment against it? We did that check and didn’t receive information” that would prompt the agency to continue investigating. The spokesperson declined to comment further.

The longtime social services provider says that hearing about Life Deeds’ alleged actions has prompted concern in the service community about how the agency could better preemptively monitor prospective contractors.

DHS already requires extensive paperwork from applicants, the provider says, which can prove burdensome for smaller organizations that continue to grapple with higher caseloads and smaller contract awards.

“Maybe the burden of more documentation wouldn’t be so bad, but we already fill out a lot of paperwork for every contract ... and often have to resubmit when something doesn’t get uploaded right,” the provider says. “So it isn’t nothing, and that’s just on our end. It is worth some consideration, especially if this kind of [alleged behavior] is extremely rare and if DHS’ auditing procedures and timing are solid. [We] should certainly have very high safety standards for services for children and vulnerable populations, but we could never prevent every problem.”

CP

DISTRICTLINE Charges Ahead

A former Ward 8 Democrats leader and minister faces a federal indictment that she claims started with a political hit from Vince Gray.

By Mitch Ryals From a corner table at the IHOP on Alabama Avenue SE, Rev. Rowena Joyce Scott pleads her case—or some of it anyway.

The former board president of the nonprofit Park Southern Neighborhood Corp., which owned and managed the Park Southern apartments in Southeast, was indicted on federal charges last week. The 13-page document outlines a scheme to line her pockets with money from the nonprofit from 2010 to 2014 while the apartment building for lowincome residents fell further into disrepair.

The indictment describes credit card fraud, wire fraud, unfiled income tax returns, and filing false tax returns—and it’s just the latest development in a saga that’s dragged on since at least the 2014 mayoral race.

Between sips of hazelnut-flavored coffee and bites of double-stack pancakes, Scott denies that she willfully violated any laws. She claims that whatever discrepancies the feds found in her financial records are due to bookkeeping errors and poor advice from attorneys.

Scott, 66, also reiterates her belief that this whole mess is the culmination of a “political hit” from Ward 7 Councilmember Vince Gray. Scott made a similar accusation during the 2014 mayoral primary after she flipped from supporting then-Mayor Gray to supporting Mayor Muriel Bowser, who represented Ward 4 on the Council at the time.

Scott says Gray promised to “get me” after she defected and that shortly after he lost the Democratic primary, his Department of Housing and Community Development raided files and computers from the nonprofit’s office. She later filed a lawsuit alleging the raid illegally interfered with the nonprofit’s business, which was dismissed.

Gray declined to comment on Scott’s ongoing case and has previously denied her accusations. The nonprofit was also delinquent on a city-backed loan and utility bills and the building was in a general state of disrepair when DHCD conducted its raid and took control of the property in 2014. The IRS also seized financial records that year.

Hearing Scott’s claim of retaliation, Gray’s former campaign manager, Chuck Thies, responds: “Tell that to a jury. Did the dog eat her taxes?”

Mitch Ryals

LOOSE LIPS

Scott says she was offered a plea deal on the accusations in the indictment but turned it down.

“I trust and believe in God, and I trust and believe that I have not with any wilful intent done anything wrong to hurt that property,” Scott says. “I’ve done much more to help it. I will agree that we may not have done everything right. Nobody does.”

According to the indictment, between February and May of 2014, Scott padded her personal bank accounts with at least 40 payments from the nonprofit and at least 50 checks made out to herself; she made more than 60 cash withdrawals from bank tellers and more than 100 ATM visits.

Scott, the former head of the Ward 8 Democrats, flatly denies that any money moved from the nonprofit to her own account and invites the feds to “prove it.” But, she says, she used the cash from the ATM withdrawals to pay homeless people to evict residents.

The indictment also lists 46 credit card charges during that same timeframe from businesses such as ChurchPlaza, the Chesapeake Beach Resort & Spa, Nordstrom Rack, the Shoe Parlor, Modern Wigs and Beauty Supply, and Traders Seafood Steak & Ale, among others.

Asked about the nearly $2,000 in charges at the resort and spa, Scott acknowledges that she and at least one other person went on a retreat “to get away from the negativity and to regroup.”

“You’re in a very negative environment and you’re steadily trying to change it, and you’re trying to weed out some of the negativity,”

Scott says. She talks about being woken up at 2 a.m. by yelling and domestic disputes as well as some of the alleged drug dealing that went on at the apartment complex.

“You had to be strong and be unafraid,” she says. “So that’s what people go on retreats for— to recuperate, back up, and see how we can go about this a little bit better.”

As for some of the other charges? The $4,790 to ChurchPlaza paid for 100 chairs that are still on site, she claims. And the $7.39 at the wig store purchased “little hats” for a children’s program.

She doesn’t have an explanation for the $361.81 at Nordstrom Rack and the $342.38 at the Shoe Parlor.

Instead she shows LL a photo album with pictures of parties, events, and even a poolside baptism. Scott says she has paid for lunches for senior residents while they played bingo and would put on the occasional fashion show and parties, suggesting that those payments went toward clothes for those who could not afford it.

“Two young men in the building never had hard shoes,” Scott says of one formal party she hosted. “We were tryin’ to turn them around, and we rented their tuxes and their hard shoes.

We did that for them.”

And then there’s the separate issue of her taxes. According to the indictment, Scott gave her bookkeeper “false and fraudulent” justifications for some transactions, and no justification for others. As a result, the nonprofit “consistently underreported” Scott’s annual pay to the IRS. Scott also underreported her annual in-

come on her personal taxes, according to the indictment, and in some years she didn’t file a return at all.

Scott claims the discrepancy in the nonprofit’s taxes has to do with confusion over whether her salary included the amount of free rent she enjoyed while living at Park Southern.

“I’ll tell you what I’m guilty of: trusting people,” she says. She refuses to answer any questions about her personal taxes, and at one point questioned whether she should have asked her attorney before meeting with a reporter. In just one example from the indictment, Scott claimed to have earned $37,115 in 2011, and in fact earned at least $100,000 in taxable income, according to the indictment.

The man who filed her taxes, Gaster Hunter, acknowledges that he did in fact make an error, but filed an amended correction.

“I had another account I was working on and got the 990s confused,” he tells LL. “But I turned the corrected ones into the IRS, so they are aware of the error that was made.”

Hunter, who is retired, says that he spoke with the IRS last year when they showed him financial information that he had no knowledge of. “I can only report what I have,” he says. “All the numbers I had reported are reflected in the documents. The IRS has numbers I was not privy to.”

Hunter was “floored” when LL told him Scott had been indicted, adding that she is ultimately a good person with an unconventional management style.

“As a minister, she’d say ‘God’s got this,’ and I’d say ‘Yeah, but God gave us common sense.

There are rules and laws,’” he says.

The federal indictment is only Scott’s most recent legal trouble. In November 2017, a D.C. Superior Court judge ordered her to repay more than $240,000 that she’d received from the nonprofit in salary and free rent. D.C. Attorney General Karl Racine joined the civil case after the Park Southern Residents’ Council sued Scott and the nonprofit.

Judge John M. Mott ruled that Scott violated the District’s nonprofit laws by drawing an excessive salary as the organization fell behind on a $3 million city-backed loan and as the 360-unit apartment building fell into disrepair. Mice, roaches, and bedbugs infested the building, which had faulty water heaters, broken locks, and moldy walls and ceilings, according to court records and news reports.

Scott is appealing the judge’s ruling, arguing in court documents that she was denied a jury trial and was entitled to payment for work she did as the property’s manager.

“The $240,000 judgment does not take into account that she worked and because she worked, she was entitled to a rent free apartment,” Scott’s attorney Johnny Barnes says.

A court date for the appeal is set for next week. No date has been set for her to appear in court on the indictment.

CP

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DISTRICTLINE DISTRICTLINE Authority It’s The Climb Brianne Nadeau introduces a bill to strip public housing authority of its independent status.

By Morgan Baskin Ward 1 CounCilmember B r i a n n e Nadeau wants to revoke the D.C. Housing Authority’s status as an independent agency. She introduced a bill on Tuesday to fold the Authority into the purview of the Office of the Mayor.

Doing so would give the mayor’s office and D.C. Council better oversight of the Authority’s budget priorities and spending patterns, Nadeau says. At least seven other councilmembers support the bill, including Chairman Phil Mendelson, Ward 2 Councilmember Jack Evans, Ward 4 Councilmember Brandon Todd, Ward 6 Councilmember Charles Allen, and At-Large Councilmembers Elissa Silverman, David Grosso, and Robert White.

In recent months, the D.C. Housing Authority has publicly acknowledged that the vast majority of its public housing stock—roughly 7,000 of its over 8,000 units—are in “extremely urgent” or “very urgent” condition.

Conditions include deteriorating infrastructure, faulty pipes, lead hazards, and infestations of rodents, cockroaches, and mold.

DCHA Director Tyrone Garrett told City Paper last December that the agency has had to ask itself: “‘Is [the disrepair] something that’s prevalent throughout our portfolio?’

And we’ve identified, yes it is.” A spokesperson for the Authority did not immediately respond to City Paper’s request for comment on Tuesday.

The Authority estimates that the cost of conducting interim controls for its lead paint and lead dust hazards, among other immediate life safety issues, will cost over $340 million in fiscal year 2019, with the long-term cost of stabilizing the Authority’s housing portfolio costing about $1.3 billion over 10 years. Garrett has increased that figure to $1.7 billion if the Authority does not receive the funding necessary to immediately begin repairs.

Last month, the D.C. Housing Authority’s board of commissioners passed a resolution to establish “a framework for the stabilization and repositioning [of] DCHA’s portfolio of properties.” In effect, it signaled the board’s

belief that the most cost-effective way to stabilize the city’s public housing is to privatize or redevelop some of its most neglected properties. DCHA has already filed three demolition/disposition applications with the federal Department of Housing and Urban Development for Ward 1’s Park Morton, Ward 7’s Richardson Dwellings, and part of Ward 6’s Sibley Plaza. Garrett has said publicly that his office is in the process of identifying other public housing complexes to redevelop.

In a slideshow he presented to the board of commissioners before that meeting, Garrett identified 14 properties as being in “extremely urgent” condition. A spokesperson for the Housing Authority identified these properties to City Paper as Stoddert Terrace/Fort Dupont; Kelly Miller/LeDroit; Langston Terrace; Woodland Terrace; Greenleaf Senior; Greenleaf Gardens; Benning Terrace; Garfield Terrace; Judiciary House; Richardson Dwellings; Kenilworth Courts; Harvard Towers; Syphax Gardens; and Lincoln Heights. Together, these properties represent over 3,300 units of public housing.

As she introduced her bill to strip the Authority of its independent status on Tuesday morning, Nadeau cited DCHA’s desire to privatize much of its housing stock as an impetus for introducing the bill. The agency is “not responsive enough to meet the needs of our residents,” she said.

The agency has historically “been disconnected” from city-wide conversations about the preservation and production of affordable housing, Nadeau says. “We have to get them on the same page... and that’s just not possible if an agency is independent. We have to leverage every funding mechanism we have” for the production of affordable housing, she tells City Paper.

The Authority has asked HUD for additional housing vouchers so that it can re-home residents who are living in what DCHA has identified as its most uninhabitable units. DCHA has “limited use” to 272 emergency vouchers, the Authority says.

CP

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By Morgan Baskin Mayor Muriel Bowser continues to tweak her administration in the months after she won reelection, announcing on Tuesday that she will nominate Ernest Chrappah, the former chief of the Department of For-Hire Vehicles, as the permanent director of the Department of Consumer and Regulatory Affairs. Chrappah has served as the department’s interim director since mid-November of last year, when former DCRA Director Melinda Bolling stepped down to take a job as the head of Prince George’s County’s Department of Permitting, Inspections and Enforcement.

On Tuesday, Bowser met with Chrappah at DCRA headquarters in the Southwest Waterfront neighborhood to introduce him to agency customers and meet with existing staff. “We’re very excited about Ernest’s ideas and the energy he has brought to the agency in the last couple of months. We’re looking forward to him taking the helm,” she said in a joint interview with Chrappah on Tuesday afternoon.

Chrappah faces the unenviable position of taking the helm of what might be D.C.’s most reviled agency. D.C. Auditor Kathy Patterson dinged DCRA for “failure to enforce the housing code effectively and consistently” in a report last fall, and 11 of 18 candidates who ran for local office in 2018’s Democratic primary told City Paper that it’s the local agency “most in need of an overhaul.” The $60 million agency is also a common punching bag for Washingtonians who are renovating their homes or advocating for safer low-income housing.

Bowser’s announcement comes as D.C. Council Chairman Phil Mendelson renews his call for the Council to split DCRA into two agencies, one of which would handle business and professional licensing. The other would enforce D.C.’s housing code for rental properties and manage vacant and blighted properties, among other responsibilities. Bowser said Tuesday that she thinks the plan would be too cumbersome from a staffing perspective, and

would force the city to duplicate IT, legal counsel, human resources, and other staff positions that are necessary to make an agency run.

Chrappah says that in the last 60 days he has held about two dozen “listening sessions” with councilmembers, advisory neighborhood commissioners, and residents to hear more about their biggest existing gripes with the agency. He speaks of his mission at DCRA with the gusto of a Silicon Valley startup president, saying that he will direct the agency to “embark on a digital transformation.”

“We have to transform the delivery of city services in a way that’s convenient, that’s affordable, and is repeatable and allows us to scale our resources efficiently,” he says. “We’re in an environment where people can push a button on an app and see a car coming to them. Where they can find a handyman online.”

He cites an online tool called “DCRA Agency Dashboard,” a recently launched database that shows up-to-date information about the agency’s permitting and inspection performance, as an example of this kind of “innovation.” (While the agency appears to be meeting its goals for processing business license applications and renewals, per the website, it is behind on most matters related to property inspection and infraction processing.)

Bowser, for her part, said on Tuesday that “DCRA’s customer [is] different than it has been in years past. The needs of the city are different than they have been in the past. And we know that the agency has to evolve to serve them.”

She acknowledged that making the agency run more efficiently would mean beefing up its operating budget and staff, but declined to provide a specific figure that DCRA will present to the Council ahead of its annual budget planning season. Bowser also emphasized that improving DCRA’s inspections arm is just “one part of housing. We won’t inspect our way to a housing stock that meets our needs,” she said. “That is why we’ve been very focused on preservation in our first four years. We also need to incent [sic] landlords to make the types of investments that we need to improve the housing stock.”

CP Darrow Montgomery/File

Reconfigure

Bowser nominates interim DCRA director to serve as permanent chief of what is perhaps D.C.’s most reviled agency.

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8 february 8, 2019 washingtoncitypaper.com

Quiet and reserved off the court, St. John’s sophomore Azzi Fudd dominates her way into the spotlight when she plays.

By Kelyn Soong

Photographs by Darrow Montgomery

time is running out and Azzi Fudd is having the worst game of her high school basketball career. Wide open 3-pointers clank off the front of the rim. Routine passes result in turnovers.

More than three quarters into the game against Bishop McNamara High School, the No. 1 team in the country, Azzi is breathing heavy and looks tired, almost unsure of herself.

Instead of attacking the basket and driving past her smaller and slower defender, she dribbles the ball near half court before settling for a jump shot. Another miss.

Her mother, Katie Smrcka-Duffy Fudd, throws her arms in the air. “These are usually all in,” she sighs. Sitting five rows deep and surrounded by a small group of family members and St. John’s College High School Cadets supporters, Katie’s eyes dart back and forth from Azzi to the iPad in her hands. She enters a red “X” into the her stat-keeping app and shakes her head.

Fans in the sold-out McNamara gymnasium appear to be wondering: Is this really the best girls’ high school basketball player in the country?

In just the past year, Azzi has been the subject of a number of articles in national publications. ESPN ranks her as the top overall recruit in the class of 2021. YouTube videos of her highlight reels regularly draw thousands of views. The latest, posted by SLAM, is simply titled, “#1 Ranked Azzi Fudd Can’t Be STOPPED!!” Last summer, the 16-year-old became the first female player to play at Stephen Curry’s SC30 Select Camp for elite high school players. While there, she competed in the 3-point contest—and won.

Her parents understand that their daughter has become a face of girls’ high school basketball, and people travel from around the country to watch her play. On this late January evening, McNamara has to turn away dozens of fans who don’t have tickets for the highly anticipated game. Inside the gym, reporters and photographers from local media outlets pack the stage alongside college coaches scouting the game, including University of Maryland’s Brenda Frese and staff members from the University of South Carolina and University of North Carolina at Chapel Hill.

Across the court, Azzi’s father, Tim Fudd, an assistant coach for St. John’s, is sitting on the edge of his seat when Cadets senior center Malu Tshitenge-Mutombo gets fouled with 2 minutes and 26 seconds left. The game is tied at 47. If Azzi has any intention of taking over, the moment is now.

“You’re good,” her dad shouts. “Players make plays. This is your time!”

Standing with her back against the team bench, Azzi turns around and makes eye contact with her father. Without saying a word, she nods her head.

She’s ready.

Curry, a rambunCtious 2-year-old lab-terrier mix, greets me at the door of the Fudds’ Arlington County house. (He is, naturally, named after the Golden State Warriors star.) It’s late Christmas Eve morning. Holiday wrapping paper is scattered on the living room table, wood crackling inside the fireplace warms up the chilly air, and the Fudds are all home on one of the few days that doesn’t include a full slate of basketball activities.

Azzi’s brothers, Jon, 14, and Jose, 12, pop in and out of their rooms to play with Curry. Hair still wet from a shower, Azzi texts her mom to make sure she doesn’t need to dress up before walking from her basement room.

In order to fit in this interview, the Fudds went to the nearby Thomas Jefferson Community & Fitness Center in Arlington a few hours early to work out and get up some shots. Azzi tries to put in at least 1,000 extra shots a week.

The misses don’t count.

Less than 24 hours earlier, the St. John’s girls’ basketball team had returned from the Nike Tournament of Champions in Phoenix where the Cadets fell to the current nationleading Miami Country Day, 44-41. As Azzi plops down on the couch next to Curry, the loss still lingers.

“I’m not missing free throws anymore.

That’s my goal. No more,” she says before trailing off. “My goal was already to make all my free throws ... If I made my free throws, it would have been closer.”

This is Azzi Fudd—the perfectionist. She typically ends her workouts with a deep

washingtoncitypaper.com february 8, 2019 9

3-pointer from the top of the arc, then each side on the wings, followed by five free throws.

The last one has to be a swish.

It’s easier to remember the mistakes, the things that need to improve, she says. The goals she has in mind motivate her to put in the extra work.

“I’ve never really said this out loud before, but I, I don’t know, because sometimes it can come off cocky saying you want to be the best, but I want to be one of the best women’s basketball players to ever play,” Azzi says after a recent workout. “So I know that comes from a lot of hard work. Sometimes I do it a little begrudgingly, but I do it and most of the time I’m happy about it.”

On the basketball court, Azzi has a ruthless, machine-like quality to her game. She doesn’t celebrate after big shots. She doesn’t hang her head after misses. Her face gives little clue as to how she is performing. It remains neutral.

But off the court, Azzi sheds away her intense focus and confidence and becomes a reserved 16-year-old. She laughs anxiously at interview questions, speaks in a quiet voice, and tries to blend into the background as much as possible, especially around new people and

unfamiliar situations.

“She gets nervous a lot,” says TshitengeMutombo, the niece of former NBA star Dikembe Mutombo, “and she’s, like, shy.

But when she touches the ball, it’s like, whoa, where did that shy girl go? Like it’s gone. Completely gone.”

Azzi cried before her first soccer practice.

And before her first flag football practice. She never even wanted to try basketball.

“I don’t know,” she says, shrugging. “I don’t like new things.”

Katie interjects. “Preface it with you didn’t want to do anything in life.”

Sitting across from Azzi, you get the sense that she is often uncomfortable with the attention she receives. She’s a natural deflector, and rarely does she bring up her accomplishments.

She admits she doesn’t like stepping out of her comfort zone.

In third grade, one of Azzi’s teachers wrote goals for each student and placed them on their desks. Azzi’s read: Step out of your box.

Do something that is uncomfortable. Even now, Azzi says, she doesn’t raise her hand in class unless she absolutely knows the answer.

10 february 8, 2019 washingtoncitypaper.com

“She’s the kind of kid that if she puts her mind to it, she’d be good at it,” Katie says, “but she just doesn’t have that natural swag of, ‘I’m just great.’”

Katie and Tim are both coaches and former elite players. Tim, who stands 6-foot-7, played at American University and professionally overseas, while Katie starred at Georgetown University and became the first Hoya ever selected in the WNBA draft at 62nd overall. Azzi is named after Jennifer Azzi, an Olympic gold medalist Katie idolized.

The Fudds got married when Azzi was 2 and Tim officially adopted her shortly after. Azzi says she has not seen her biological father since she was born. In elementary school, she found out that she has an older half brother who lives in Finland. They share the same father.

“Biological dad,” Azzi clarifies. “I don’t claim him. I already have a dad.”

Her parents have coached her since she started playing Amateur Athletic Union (AAU) basketball in first grade.

“And she was awful,” says Katie.

Tim isn’t quite as harsh in his assessment, but agrees Azzi wasn’t a natural, at least at a young age. She wasn’t tenacious. She didn’t

have a killer instinct. She mostly stayed to herself, and let the other girls make the first move.

“There’s some little kids who would go out and just like try to rip your hearts out,” Katie says, “and that just wasn’t her.”

But because there wasn’t a team for her in first grade, the Fudds had Azzi play with older girls, so it became difficult to assess her skills.

As a coach, Katie says, she tends to see the negatives. Even as Azzi quickly improved, her parents kept the compliments to a minimum.

They didn’t want any success to go to her head.

“In coaching a lot of kids and having been around a lot, you see a lot of kids that are prodigies when they are young ... and everyone fawns over them,” Katie says.

“Then they get a big head,” Azzi interrupts.

“Yeah, they get a big head,” Katie agrees.

“They stop working. They stop loving the game or their passion fades, or they get an attitude and start to really think that they’re good.

I think the moment that you think you’re good, the moment that you’re like, ‘Yeah, I’m good,’ that’s the moment you cease to be good.”

After one game during middle school, her parents harped on her mistakes. Why didn’t you attack the basket, they asked. Why didn’t

you get more rebounds? Because I’m not any good, Azzi replied.

Her parents fell silent. You’re playing two years up and you’re consistently the best player on the floor, Tim remembers telling her.

What does that mean, he asked, looking his daughter in her eyes. She didn’t know how to respond.

“For the sake of having confidence, you should never feel you don’t belong. You belong,” Tim finally said to her. “Every time you’re on the floor, you’re one of the best ones there, if not the best one there. So we shouldn’t [even] have these conversations.”

Hanging on tHe walls leading into Azzi’s bedroom is the banner she received for being named the District’s Gatorade Girls’ Basketball Player of the Year. There’s also an American flag with autographs of her teammates when she played on Team USA’s under-17 World Cup team. The year before, she was the youngest member on the under-16 squad.

In sixth grade, she received her first college scholarship offer, from Maryland.

Around that time, she attended a Terps summer basketball camp and met one of her favorite players on the team, Chloe Pavlech, whose bobblehead sits on the desk in her room. Azzi was nervous, but Pavlech’s outgoing personality complemented Azzi’s shyness.

She made her feel at ease.

At the end of the camp, the players invited Azzi and a few other campers to play pick up with them. Pavlech says Azzi held her own against collegiate players.

“The fact that even at such a young age, she can score at all three levels, that’s something Division I can’t do,” says Pavlech, now a women’s basketball analyst. “She can get to basket, score midrange, and can also score outside the 3-point line ... She can be in transition, going 100 miles an hour, and stop and pull up.

That’s something very, very hard, and only the best players in the country can do. That’s why they’re the best players in the country. Imagine seeing someone like that in sixth grade.”

Azzi’s game has often been compared to WNBA star Maya Moore, who played for Division I powerhouse University of Connecticut. She’s also been compared to Diana Taurasi, one of the best to ever play the game.

“I wouldn’t say Diana, just because I think Diana plays good defense, but Azzi plays better defense,” Pavlech laughs.

Wait, what? Better defense than a WNBA legend? How about Moore?

“If I could choose Maya or Azzi to run my team as a point guard, I would choose Azzi,” Pavlech replies. “This is gonna sound very crazy, everyone is gonna say I’m super biased, but just how she can see the court and her floor vision. If a game is on the line I’ll choose Maya, but for the point guard spot, I’d choose Azzi.”

Her St. John’s coach, Jonathan Scribner, has been quoted comparing Azzi not to a WNBA player but to Kawhi Leonard, a three-time NBA All-Star.

“I mean, nobody talks about it,” Scribner says. “She’s the best defensive player in the country. She’s got a midrange game, she’s got

a three game, she can get to the basket. She’s got an even keel demeanor.”

He pauses. Nevermind what he just said, he insists.

“I don’t like to make comparisons,” Scribner continues. “I don’t want her to be compared. She’s Azzi Fudd. She doesn’t need to be compared to anybody.” azzi takes out her phone and opens up the Notes app after a game early in the season. On the screen is a list of her goals for the school year. It includes: Individual on the court • More of a vocal leader • Average 8 rebounds a game (“Actually, it should be 10,” she later clarifies.)

• Average 4/5 steals a game • Average 28 points per game • Shoot 50% from the 2 and 3 • Shoot 90% from the free throw line • Grow my game—different moves • Gatorade player of the year • First team all American Off the court • 3.8 GPA • Communicate with my teachers better—have better relationships and go to them more often • No distractions during homework—get it done

Epstein has studied elite athletes across the globe, and after watching a few of Azzi’s highlight videos, he couldn’t help but think that she reminded him of elite running backs. Then he Googled her name and discovered that his hunch wasn’t far from the truth.

From third until ninth grade, Azzi played flag football alongside her close friend and St. John’s point guard Carly Rivera. In 2017, her Arlington NFL Flag Football team, coached by Carly’s father, Mike, won the national championship.

“It really helped my reaction time,” she says. “It’s so much better now and I have to say, it’s mostly because of flag football, the timing stuff.”

While attending The Potomac School in McLean, Azzi also played field hockey and soccer, and she runs track for St. John’s, focusing on sprint events from 100- to 400-meters.

In seventh and eighth grade, Azzi played for her school’s boys’ basketball team.

Her parents have encouraged her to play multiple sports, and according to Epstein, that has likely helped her become the elite basketball player she is.

“The people who specialize early [have] what is called closed skills,” he says, “like they sort of learn the skills of the game early so they have an apparent advantage, but then other people catch up. Sport diversity seems to have advantages for learning.”

A few weeks later, I give a brief overview of Azzi’s athletic accomplishments and show a copy of this list to David Epstein, a former reporter for ProPublica and Sports Illustrated and the author of the New York Times bestselling

Mystics star kristi toliver needed to clear her mind. It was a month and a half into the NBA season and life as a Wizards assistant coach began to wear her down. Toliver’s days included little more than watching basketball from a mediocre NBA team and traveling all

book, The Sports Gene: Inside the Science of Extraordinary Athletic Performance.

Azzi, he says, is by definition an outlier. Her attention to detail, drive to succeed, and goal setting are just examples of how she separates herself from other elite high school athletes.

“I think that’s rare for a person in general,” Epstein says. “It’s not unheard of, certainly, but how many adults would have the equivalent of that? Be it work goals or goals at home.”

over the country. A week earlier, the New York Times reported that Toliver is only being paid $10,000 for her role with the Wizards due to WNBA salary cap rules.

During the drive back home after one practice, Toliver started listening to an episode of a podcast hosted by LaChina Robinson that featured Azzi. Once she stopped the car, she immediately looked up the St. John’s schedule. They happened to have a game that same

night. She decided to go.

“I had one of those moments. I was like, I just wanted to get back to the purity of the game,” says Toliver. “I just wanted to watch, one, women’s basketball. I hadn’t watched women’s basketball in a while, that was a part of it, and also high school, just bringing me back to the basics, to where I started.”

She watched from the bleachers as Azzi poured in 27 points and grabbed seven rebounds against St. Mary’s Ryken in a 71-31 St. John’s victory.

“The way she moves on the court hides her size,” says Toliver. “She’s so fluid, a lot of it was effortless—speed, change of direction, her feel ... She was just a sweet, sweet kid, that just made me so happy, because you never know how ego can play such a huge part in kids, in pro athletes, from top to bottom, that can mess with you a little bit, but she was so sweet.”

Afterward, Toliver posted a photo of her and Azzi with the caption, “Future of women’s basketball is in good hands with this one right here.”

The basketball and youth sports landscapes have changed since Toliver’s high school days.

More eyes are on the athletes, leading to more hype. And social media can bring an added layer of concern for parents and potential distractions for the players. Promoters, agents, and over-eager fans are all looking to cling to an athlete’s celebrity status.

Azzi has more than 32,000 Instagram followers and around 3,300 people follow her on Twitter. (“I hate Twitter,” she says.) She’ll get requests from people asking her to promote their product or share their mixtape video of her.

Other times, it’s less innocuous. Her father recalls an incident when a man who identified himself as a blogger sent her a direct message at midnight and said, “Hit me up.” In their living room, he pulls out his phone and clicks on an Instagram account from an out-of-town coach that includes photos of female high school athletes in jerseys and also revealing clothing. Azzi has not been featured on the account, but her parents have concerns about the attention her profile brings.

“Social media has allowed them to have direct access to these kids,” Tim says, “and it’s a little suspect.”

A few summers ago, Azzi posted a photo of her and her friends hanging out at the pool.

Her parents made her take it down. Azzi rolls her eyes at the reminder.

“Because she was in a bikini,” Katie explains. “There’s just too many weirdos and creeps out there.”

Azzi understands, but pushes back against the social media policing as any teenager might. “I feel like people are going to be weird and perverted or whatever no matter what,” she says. “I get what they’re saying, but I just feel like there’s always gonna be weird people.”

Her celebrity has also brought her international recognition. After the Curry camp, Azzi went on a cruise and walked through a security check point in a village while the boat was docked. Not long after, a little girl approached her. “Oh my gosh,” she said. “Were you one of

washingtoncitypaper.com february 8, 2019 11

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the girls at the Steph Curry camp?” Azzi was in Mexico.

Young fans also wait for her after games to take photos, and the Fudds are often the last people out of the gym. “Where’s Azzi?” one of her teammates asked while posing for a group photo after the team beat Christ The King High School, the former No. 1 team in the country, in early December. A line of reporters was waiting to interview her.

So what is the most challenging part of being a 16-year-old celebrity, I ask her a few weeks later.

“Well, one thing is I don’t really have a signature that I like,” Azzi responds.

Katie can’t help but chuckle. “You’re such a dork.”

(Azzi has practiced incorporating “35”—her jersey number—into her autograph, but none are to her satisfaction. “See, Zs are so ugly!” she says as she throws down a pen.)

But with the attention, and sometimes uncomfortable spotlight, comes opportunity.

Multiple Mystics players have invited her to work out with them, she says, and Brandon Payne, Stephen Curry’s personal trainer, has also reached out.

“I was like, did he really just text me this?”

Azzi says. “I don’t even know what word to use.

It’s beyond amazing and humbling. That also drives me to work harder.”

ThirTy-one seconds remain. St. John’s is down by one point. Azzi dribbles the ball to the left corner. Her defender is late, and without hesitating, she fires a 3-pointer. The ball splashes into the net. It’s the first 3-pointer she’s made all night.

St. John’s leads 54-52, but McNamara is able to force overtime. In the extra period, Azzi scores six straight points in the final two minutes to finish with 18 points, shooting 6 for 24 from the field. The Cadets win, 67-65.

Azzi finally smiles.

Later on she will admit that for several weeks, a large blister on her right foot, in addition to patellar tendinitis and a tight iliotibial band, has made it painful for her to bend down to shoot.

“Honestly, I’ve watched Azzi play 52 games or whatever it’s been, and I haven’t seen her miss shots like that, but that’s part of the game,” Scribner says, his voice hoarse from shouting over the crowd. “But when it really mattered, she knocked down the big ones.” azzi is back in the gym. It’s a week later, and she’s with her parents in Arlington on a Monday night. She came directly from practice at St. John’s.

“Keep that release high,” Tim shouts. “Elbow above the eye!”

For the next hour and a half, Azzi is working on her shot, chasing perfection. “That’s Katie’s shot,” Tim explains, as Azzi drains another 3-pointer. “The release. We’ve worked on it for the last three, four years.” Tim and Katie take turns coaching Azzi, each valuing individual time with their daughter.

A few onlookers stop to watch the entrancing rhythm of her shot. Catch. Jump. Release.

Swish. Jon and Jose are there too, helping rebound the ball for Azzi and her friend, 15-yearold Imari Poindexter, who recently moved in with the Fudds.

“I’ve only known Azzi for a year,” Poindexter says, “but it’s like family, like I’ve known her for 15 years.”

It’s moments like these that help shape a player. No agents. No college coaches. No TV cameras. A family together in the gym before dinner.

“I’m really fortunate in that they’re always here for me and they do so much with me,” she says of her parents. “Sometimes I get them mad and sometimes they make me mad but I love them.”

“And I know that even when they’re mad at me, they put me on, well—I don’t really get in trouble, I’m the good kid,” she laughs, “but even when they make me do something I don’t like, I know it’s all for the best, that they always have my best interest in mind.”

Before leaving for the evening, Azzi puts on her hoodie and gently lays her head on her father’s chest. He puts his arm around her as she closes her eyes. Neither of them say a word.

She knows she belongs.

CP

GRAZER

Laura Hayes

DCFEED

Takoma Park has a new West African restaurant, Mansa Kunda, serving everything from peanut butter chu to plasas stew.

Sauce-O-Meter

How recent food happenings measure up By Laura Hayes LAME SAUCE

Some restaurants report their slowest January yet, thanks to the government shutdown and winter weather, and are struggling to rebound.

Amy Guay

Pizzeria Paradiso is serving rotating pizza specials paying tribute to states with female governors, lieutenant governors, and members of Congress.

Darrow Montgomery

Proof closed in Chinatown on Feb. 2 after 12 years in business, continuing the steady stream of major restaurant closures.

Latin market La Cosecha will debut near Union Market this summer, filled with restaurants and bars including El Cielo and Amparo Fondita.

Albert Ting

An arsonist set fire to the curtains inside Comet Ping Pong on Jan. 23. No one was injured.

The Daikaya Group is taking over the former Graffiato space in Chinatown.

SpiceRoute Bombay Street Food’s Campaign to Inflame Welcome to Spice Route, a recurring column in which food writer Warren Rojas connects diners to the most fiery and flavorful dishes featured in area restaurants.

Asad Sheikh

Location: Bombay Street Food, 1413 Park Road NW; (202) 758-2415; bombaystreetfood.us Vision: After surveying the D.C. dining scene, Bombay native Asad Sheikh determined he’d make his mark serving enticing street fare. Bombay Street Food is a departure from the the family-style platters of Indian cuisine served at his former restaurants, northern Virginia-based Curry Mantra and London Curry House. The snack-size selections that dot tables in Columbia Heights are part of Sheikh’s plan to give locals a fresh taste of his homeland.

Top of the Hour

MUMBO SAUCE

Since debuting in late November 2018, Bombay Street Food has built a following serving South Asian comfort foods ranging from crunchy vegetable fritters to fragrant curries, pepper-packed chutneys, and zesty yogurt sauces. One charmer is the keema pav, a D.I.Y. Sloppy Joe featuring extra garlicky ground meat and hot buttered rolls.

World Central Kitchen’s #ChefsForFeds pop-up served 100,000 free meals in D.C. during and after the government shutdown.

Execution: Sheikh bills familiar dishes such as butter chicken and chicken tikka masala as the safest entry points to his spice carnival, pegging them at about “50 percent hot.” Other assorted curries hover between “70 percent to 80 percent hot.” The vindaloo is the most thrilling. The slow-cooked curry is rich and complex, marrying cumin, two heat sources—ground green chile paste and red chile powder—pearl onions, and a protein of choice. A splash of vinegar imparts a tangy kick. “I give it the max heat that I can take,” he says. The end product stops just short of face-melting fury.

Instead, each forkful releases a blissful burn. “We can’t make it medium,” Sheikh says of the default heat level. But they can make it hotter.

Intensity (out of five): Four sirens —Warren Rojas

Where: Zorba’s Cafe; 1612 20th St. NW; (202) 387-8555; zorbascafe.com Hours: Mondays through Fridays, 4 p.m. to 7 p.m.

Drink Specials: Draft beer and wine from $3, bottled beer from $3 Food Specials: Half-priced hummus and tzatziki Pros: For a cool $5.45, you receive your choice of house wine or draft beer as well as a generous pile of pita artfully arranged around a helping of hummus or tzatziki. The Dupont Circle Greek restaurant’s liberal interpretation of happy hour (4 p.m. to 7 p.m.) means you can take advantage of the spacious seating options, including an outdoor patio strung with white lights popular with the post-work crew. Zorba’s has been in business for more than three decades, and its homey atmosphere is palpable—from the warmth of the staff to the kitschy photos of an unnamed pelican that adorn the walls.

Cons: Don’t go to Zorba’s happy hour for showy culinary panache, or if you’re seeking a chic environment complete with dark wood and mood lighting fit for well dressed young professionals. If not for its staggering cheapness compared to other District hotspots, Zorba’s fare might not be worth a special trip. But a drink and a well portioned appetizer for less than $6 is nothing short of miraculous.

—Amy Guay

washingtoncitypaper.com february 8, 2019 13

CPARTS

Dreamcast talks about how globetrotting—and a breakup— influenced his new music. washingtoncitypaper.com/arts

Exit Scene

Longtime go-go star Donnell Floyd announces his retirement from the homegrown scene.

Courtesy Team Familiar

Donnell Floyd

By Alona Wartofsky The announcemenT, a brief video clip posted on social media, began with a song: “I come from nowhere, and I chase the daylight, to entertain you, See, I gave my whole life.

D.C. I love you, and I hope you feel me…”

After nearly four decades in go-go, Donnell Floyd, who performed with Rare Essence for 18 years before breaking away to lead several bands including 911, Familiar Faces, and, most recently, Team Familiar, has announced his impending retirement from the music.

Floyd’s plan to step down at the end of 2019 came as a surprise and reminded some in the go-go community of another announcement he made back in 2001, when he stunned fans with the news that he was leaving Rare Essence to create a new group, 911.

This time, he chose his original “I Gave My Whole Life” to precede the news. “It’s my song saying who I am and how much I love D.C.,” he explains.

MUSIC

14 february 8, 2019 washingtoncitypaper.com

And while Floyd, 54, did not specify his reasons for retiring in the video posted last week, he is not reluctant to discuss his motivations. He now says that his self-imposed retirement has everything to do with his performance style.

“My brand of entertainment is different than Chuck’s,” he says, referring to go-go founder Chuck Brown. “Chuck stood up there with a guitar singing ‘Moody’s Mood,’ and he could have did it ‘til he was 100 because it’s a laid-back style... My brand is to stand on the speakers and yell and scream. I tried to remake myself as many times as I could over the years, but at the end of the day, people come to hear me do my catalog—and my catalog is yelling and screaming.”

Floyd notes that his aggressive vocal style is different from those of other old school lead talkers who continue to perform, including RE’s James “Funk” Thomas and Experience Unlimited’s Gregory “Sugar Bear” Elliott, comparing himself instead to Junkyard Band’s Steven “Buggs” Herrion and Backyard Band’s Anwan “Big G” Glover.

Mostly, he says, his retirement plans were the result of a television special, though he can’t remember whether it was about K-Ci & JoJo or Boyz II Men. “I was laughing to myself as I was

watching because that looked terrible, you know, older guys trying to act like they did when they was 20,” he says.

Floyd began his go-go career with Chance Band, and he was still a student at Duke Ellington School of the Arts when he joined Rare Essence in 1983. He started as RE’s saxophone player, but over the years he influenced the band to embrace a harder, more hip-hop influenced sound as a rapper and co-writer of its biggest hits of the late ’80s and ’90s— “Lock It,” “Work the Walls,” “King of the Go-Go Beat,” and “Overnight Scenario.”

Those go-go classics were not Floyd’s only contributions. In the ’80s, he and Rare Essence drummer Quentin “Footz” Davidson helmed the label Kolossal Records, which released local hits by rappers Vinnie D and D.C. Scorpio. Floyd also worked on behalf of the music as vice chair of the Go-Go Coalition.

“Donnell is a strong voice and personality in go-go,” notes TMOTTGOGO’s Kato Hammond. “People always talk about how go-go doesn’t have enough originals, but you can’t say that to Donnell. He also took the second mic to another level, really changing the way go-go bands use that second mic.”

In 2017, Team Familiar performed in Nigeria, an opportunity Floyd later described as “the most incredible experience I could even fathom.” He has performed at dozens of area clubs as well as larger venues including the Capital Centre, The Howard Theatre, The Kennedy Center, Capital One Arena (known as the Verizon Center when he performed), and the Walter E. Washington Convention Center for Mayor Muriel Bowser’s inauguration.

Team Familiar will continue to play during this year, including shows at the Central Intercollegiate Athletic Association (CIAA) Basketball Tournament and the All-Star Weekend in Charlotte as well as gigs in Philadelphia and Miami. An upcoming local show will pair Team Familiar with Floyd’s old band, Rare Essence. Floyd is also planning a big finale. “I want it to be full of props and showmanship,” he says, “all that kind of stuff that we seem to have lost along the way.” After that, Floyd’s only planned go-go performance is a 2020 Rare Essence reunion which he has already committed to and occasional private shows for longtime fans.

For now, the future of Team Familiar—whose lineup includes conga player Milton “Go-Go Mickey” Freeman—remains unclear. “This is all kind of new to us,” says Floyd. “We still kind of talking our way through it.”

Fans will be happy to learn that Floyd is not abandoning music completely. He has been practicing saxophone again and hopes to land a spot in an R&B band. “When I started with Rare Essence I was the guy at the end of the stage that nobody paid any attention to,” he says. “So it would be a great ending for me to go back to being the guy at the end of the stage that nobody pays any attention to.”

Floyd posted the announcement on Facebook and Instagram, and the news was first reported on the TMOTTGOGO website.

Almost immediately, the outpouring of love began. “Dam this jive hurt a little bit. It’s like somebody just removed the monument or removed Georgia Ave or the Big Chair,” wrote Facebook user Scott A. Dickens.

Another Facebook user, Oumar Hill, posted: “Thanks for keeping me busy, out of jail and focused on my teenage/fake grown man days. Couldn’t have made it without you Donnell Floyd Sr. You will be missed on stage but your presence will live forever, homes.”

CP

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February’s Showcase will feature the experimental improvisation duo, Weed Tree, and the ambient melodies of Twin Jude.

Free beer tastings (ages 21+) provided by Atlas Brew Works.

Additional beverages and small snacks available for purchase.

Presented with the Washington City Paper.

8th and G Streets, NW | Washington DC | AmericanArt.si.edu washingtoncitypaper.com february 8, 2019 15

FILM

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Short Change

At its best and worst, this year’s crop of Oscar-nominated short films holds a mirror up to our society. The result isn’t always pretty.

2019 Oscar Nominated Short Films: Animation, Live Action, Documentary

By Alan Zilberman, Tricia Olszewski, and Noah Gittell Live Action Many short stories make for great featurelength films. Novels can be too expansive, while a short story has just enough characters and depth so that a film adaptation is often seamless (Brokeback Mountain is an excellent example). If short stories make for great features, then parables often make for great short films. With even less screen time, short films must tell simpler stories that have clearer messages. That is certainly the case for this year’s crop of Best Live Action Short Film nominees.

As they strain for resonance, they are ultimately too dour and depressing for a shared theatrical experience.

These short films are quite simply so brutal that the only proper response is to disengage from them. There are five short films in to-

tal. Out of the five, three of them involve the death/disappearance of a child. One of them culminates with a child accidentally killing his parent. The last one is a gentler, bittersweet story that maintains a gentle wistful tone. It might be the best one, winning the Oscar by default.

Detainment, the longest of the five, is a recreation of the James Bulger investigation. James Bulger was 2 years old when he was tortured and killed by two 10-year-old boys, who ultimately became the youngest convicted murderers in the 20th century. The film focuses on flashback and interrogations, with the boys isolated from each other, sort of like an emotionally charged version of the prisoner’s dilemma. The film is already controversial in England for what it depicts, since it humanizes Bulger’s killers, who were frightened and confused. Director Vincent Lambe is not successful in his endeavor; his message is too muddled for that. Also, Bulger’s death is so cruel and tragic that Detainment is unnecessary at best, or destructive at worst. While watching the film, I could not shake the sense the young actors who play Bulger’s killers will be

16 february 8, 2019 washingtoncitypaper.com

traumatized for their efforts.

That sense of needless trauma can be also be found in Fauve and Skin, two other short films that deal with children who are in way over their heads. That is literal in the case of Fauve, a film about two boys who play an ongoing game of chicken in a construction site.

Things start to go awry once one of the boys finds himself in industrial quicksand. The image of a helpless boy drowning slowly is a lot to bear, and Fauve does not justify its protracted death. You will certainly share that helpless feeling, but nothing greater than that, so Fauve is about as effective as those Sarah McLachlan ASPCA videos.

Skin fares slightly better since it has an edge and sense of poetic justice. It follows a family of white supremacists, and while the father clearly loves his boy of about 8, the hate in his heart leaves an even stronger impression. There is a traumatic, violent scene where the father senselessly beats a black man, and what happens to the father unearths the senselessness of racism in surreal ways. If Skin were not juxtaposed with all this grim death, it probably would have made a stronger impression.

The last two shorts, Mother and Marguerite, have no children on camera. A child is nonetheless at Mother’s forefront: It unfolds like a thriller, with a parent speaking to her young boy who is on holiday. The boy is alone on a beach—his father is nowhere to be found—and she becomes increasingly panicked as it becomes clear the boy is utterly alone. Like The Guilty, last year’s thriller about an emergency room operator, Mother operates on the simple, primal fear of a responsible adult who has no choice but to listen as things go awry. It is too short to generate real suspense, unfortunately, so it mostly serves as an example of what you can accomplish with limited resources.

Marguerite is like a tonic after the wringer of the other four shorts. It is about an elderly woman and her tender relationship with her younger caregiver. The older woman finds out the younger one is a lesbian, and that revelation causes her to reflect on her past and consider a relationship that society forbade her from exploring. Marguerite avoids the temptation of easy drama, and instead shows how two good, empathetic people gradually let their guards down so they can find a small measure of happiness. After so much numbing, senseless death, that’s the only parable you’ll want to remember.

(AZ) Animation The most significant theme running through 2019’s Oscar-nominated short animated films is aging, whether it’s growing up or growing old. Like any good film, most of these selections meld the bitter and the sweet and hold your interest until the end of their brief running times. But, of course, if you’re not enamored by a particular story, the good news is that it’s over quickly.

If you’re not looking for too much substance, Animal Behaviour is the most successful of the lot. It opens in a therapist’s office, where a therapy group has gathered and is repeating affirmations while hugging themselves. The twist: The therapist is a dog, and his patients are animals. There’s a leech with co-dependency issues, a pig who won’t stop eating, a praying mantis who’s finding it difficult to date with 1,000 kids and a penchant for killing her mates during sex. Then an angry ape shows up late, and things go off the rails. There’s a shocking development, but the story doesn’t stay serious for long, and the whole thing is astutely observed and very funny.

The annual Pixar contribution is Bao. It’s the story of an aging Asian mother whose empty nest syndrome is alleviated when one of her dumplings turns into a bawling baby.

She loves spending time with her son, to the point where she gets overbearing and refuses to let him grow up. Of course, that never works, and soon the kid has a goatee, a fiancée, and a chip on his shoulder. Bao’s fantasy

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gets a little confused—you can’t exactly say that a film about a dumpling baby becomes unrealistic—so how thoroughly you’re entertained depends on whether you allow the emotion of the short to trump its logic.

(Again…) It’s not the best Pixar has ever done, but points for imagination.

One Small Step begins with a little girl watching the moon landing and dreaming of becoming an astronaut. Her single father, a shoe repairman, buys her a pair of space boots that she wears constantly—until one day she trades them for a more grown-up pair of flip-flops. Eventually she no longer joins her dad for their daily supper and gets frustrated with her astrophysics class, which she’s failing. It takes a tragedy and an ensuing depression to turn things around. The short is at turns gleeful and heartbreaking, and its story about chasing your dreams regardless of setbacks is universal. In essence, it’s very First Man. Late Afternoon tackles Alzheimer’s. Its sadness is overcome by swirling animation and the giddiness of an elderly woman’s memories of growing up; a cookie falling into a cup of tea prompts her to essentially relive her life. Suddenly, one of these memories helps her connect to the present. The simply drawn short is lovely to behold both visually and emotionally, with the truth of the woman’s condition not evident until the very end.

Weekends is a wordless, hand-drawn film about a kid who’s shuttled between his mother’s home and his father’s city apartment. Dad is the cool one who orders takeout and falls asleep with his son on the couch after TV marathons. His mother studies accounting, plays

Period. End of Sentence

the piano, and wears a neck brace for an unexplained reason. This is the oddest of the five shorts, with the peculiarity of its near silence amplified by dream sequences and a go-nowhere story. Weekends doesn’t make you feel happiness or sympathy or sorrow. Instead you reach its end and think, “So what?”

(TO) Documentary In our current democratic crisis, when all attempts at advocacy are met with dismissive partisan insults, perhaps the best we can do is to simply depict suffering without comment.

It’s just what they teach you on the first day of film school: Show, don’t tell. Politically and artistically, the best of this year’s Oscar-nominated documentary shorts demonstrate the benefits of this approach. They shine a spotlight on the troubles we would rather not look

at and hold it there, forcing us to see what we have, consciously or not, kept hidden in the shadows.

Given the world offscreen, it seems right that two of the nominees expose bigotry. A Night at the Garden unearths footage of a massive Nazi rally at Madison Square Garden in 1939. Shot in black-and-white, its grainy stock only underlines its authenticity, and even at a tight five-minute running time, its images— like that of 20,000 Americans giving the Nazi salute, or a protestor getting roughly handled by police—leave a mark. With no commentary or voiceover, this found footage paints a haunting picture of what it looks like when bigotry is structuralized.

Meanwhile, Black Sheep succeeds as a visual memoir in which Cornelius Walker, an African immigrant in England, tells of how he worked to fit in as a teenager in his new coun-

try. Surrounded by racists in his small town, he bleached his skin and wore blue contact lenses, betraying his identity for the sake of peace.

Director Ed Perkins paints his portrait in bold strokes. Walker tells his story direct to camera, but Perkins dramatizes it with actors. The intense memory poem is buttressed by a sharp, dissonant score, and his palette of nighttime colors visualizes the danger to Walker’s body and soul.

Bodies and souls are also at stake in End Game, a Netflix documentary about end-oflife care for five individuals. Using its intimate style to highlight the patients’ inherent vulnerability, it finds beauty, agony, frustration, and even joy in the dying process. “It could be terrible, and it could be wonderful,” one patient says of her death.

“This part of my life has been wonderful, and who would have thought?” Moments of sheer wisdom are scattered throughout its 40-minute runtime, but I wished it had either stayed with one character, or more evenly allotted its narrative time. The story of Mitra, a loving mother and wife, gets the bulk of the screen time, probably due to her pained family’s willingness to be filmed so transparently. Other patients get only token representation, leaving End Game, despite its occasional power, offering either too much or not enough.

Period. End of Sentence. suffers at times from the same malady, although it would surely win an award for having the most clever title. It tracks the efforts of disadvantaged women in India who start their own sanitary pad producing company. It’s most edifying moments come early on, when the depths of India’s taboo against discussing menstruation are revealed in interviews with ordinary young men and women. The film quickly runs out of steam, however, diverting the audience from its noticeable lack of drama with cutesy music and a reliance on quick cuts. There may be a powerful human story here, but instead the filmmaker opts for a minor but effective tale of female empowerment. It could easily win.

There is nothing minor about Lifeboat, the likely Oscar winner, which chronicles the efforts of a crew sent by a German nonprofit organization to distressed refugee boats in the Mediterranean Sea. The images of dozens of people—including pregnant women and children—crammed so tightly into a small raft that their legs dangle over the side are unshakeable. The direct-to-camera testimonials are equally powerful, especially that of the British captain of the rescue ship, who evokes a barely there optimism that is apt for our moment: “Maybe hope in humans is a mad, irrational thing we’ve got. But we’ve got it, anyway.”

(NG) The 2019 Oscar-Nominated Short Films opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

washingtoncitypaper.com february 8, 2019 17

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THEATERCURTAIN CALLS Inspired by the fairy tale of a true love’s kiss and the triumph of good over evil.

OH, BEHAVE!

goofball, a smooth talker when singing “The Jitterbug Waltz” but enters insult comic mode for “Your Feet’s Too Big.” “From your ankles up, I’d say you sure look sweet,” he zings at his Ain’t Misbehavin’: The Fats date. Parker is more manipulative and playful.

In “The Viper’s Drag,” he slinks around croonWaller Musical Show ing, “I’m the king of everything, gotta get high Conceived by Richard Maltby Jr. and before I swing.”

Murray Horwitz More familiar, more innocent tunes include Directed by Joe Calarco “Honeysuckle Rose,” “This Joint Is Jumpin’,” At Signature Theatre to March 10 and “I’m Gonna Sit Right Down and Write Hitting SHift-Command-f8 on a the- Myself a Letter,” which audience members ater critic’s laptop generates a critical review of a certain age may remember hearing on of a jukebox musical with a clunky, contrived the You’ve Got Mail soundtrack along with the plot. Broadway critics used that theoretical Cranberries and Sinéad O’Connor.

A trio of female vocalists take turns tantalizing shortcut several times over the past few seasons, when shows dedicated to the music of the guys. University of Maryland graduate KoCher, Donna Summer, and Jimmy Buffett all rinn Walfall plays the ingénue, while local treasure Nova Y. Payton holds down the middle age opened to widespread complaints The jukebox trend isn’t new, and to be and vocal range brackets, occasionally vaulting up to melismatic stratospheres. Iyona Blake is the lady of the bunch, the voluptuous THE BALLET COMPANY OF THE NATION’S CAPITAL who occasionPRESENTS ONE OF THE WORLD’S MOST ICONIC LOVEsoprano STORIES ally overloaded the with soaring sounds from The Washington Ballet Orchestra sound system on press night. (Turn her microphone down, please!)

February 27 - March 3, 2019 To close out Act I, the at The John F. Kennedy Center for the Performing womenArts belt a series of bawdy numbers about Eisenhower Theater | washingtonballet.org diva-dom, concluding with “The Ladies Who Sing With the Band.”

TICKETS ARE AVAILABLE AT ActBOX II finds Payton hinting at abuse in “Mean fair, a few revues do rise above the cliches, THE KENNEDY CENTER OFFICE to Me,” and all five vocalists gather around the notably Jersey Boys and INSTANT-CHARGE Beautiful, biograph- AT 202.467.4600 ical musicals about Frankie AND Valli and Carole piano to lament the pre-Civil Rights injusticKENNEDY-CENTER.ORG es in “Black and Blue.” Their choral singing is King, respectively.

So the first thing to praise about Ain’t Mis- perfect, with unison entrances and holds so behavin’, the satisfying Fats Waller revue now sharp the voices slice right through the Cotrunning at Signature Theatre, is that this mu- ton Club haze.

Seated at that upright piano is the jazz piasical has no dialogue. This is not to say all the actors do is sing: They jump, they jive, and en- nist who makes Misbehavin’ just as much a tribgage in all sorts of shenanigans as they harmo- ute to local talent as a tribute to the Harlem ” Meadows may not have Mark nize, resulting in a show that’s mostly silly and Renaissance.

EG. RVIC TED best VOthe ® been in Jelly’s Last Jam, the Jeloccasionally sublime.

ET SE2actor 8 P 1 T 0 ,inc.

“BESSMorton F DC bio-musical Signature staged O The man behind Ain’t Misbehavin’ (besides ly Roll T BE SheldonMurray is a 1 year a few years back, but as musical director me. of Waller, who died in 1943) is impresario e ho old hound mix! likUnfortunateAin’t Misbehavin’, he’s a marvel.

Horwitz, the current host of WAMU’s vintage Sheldon is a sweet ce o pla and center at Signaradio show The Big Broadcast. Along with Rich-He ly for those seated and shy hound. ’s nfront e r e h see Meadows’ wide smile or is very friendly and ture, you’llsenever ard Maltby Jr., Horwitz shepherded Ain’t Misu t gets along great beca striding across the keys. his hands behavin’ to Broadway in 1978, where the muwith other dogs.

PROFESSIONAL He is crate trained Signature’s sical ran for four years.

IN-HOME PETlarger black box space is arranged and walks on a cabaret-style Director Joe Calarco hired hip-hop concert SITTING for this show, with tables and risers leash beautifully. He Washsits D.Cwith his on three sides of the stage. Meadows veteran Jared Grimes to choreograph Signature’s is currently being 202-362-8900 in a home in front of an production, but there’s so muchfostered movement in back to the bulk of the audience, with two children It’s a shame Misbehavin’ that you can rarely telland where Calaris very gentle excellent six-piece jazz ensemble.

Arl/Ffx Co. andsmart sweet. blocking Sheldon is stops a playful pup.

He has been caught Calarco couldn’t put the piano on some sort of co’s and Grimes’ dancing 703-243-3311 during the night collecting all of his toys from around the begins, like when Solomon Parker III sudden- turntable so everyone in the audience could take house and putting them into his crate. He’s a little joker!

Mont. Co. to this lyHe’s pirouettes, or breaks outtointo a soft-shoe duet a turn being amazed. The only recourse a fast runner and loves zoom around the house or out in the yard for as long as you one will let must frustrating seating situation is to301-424-7100 grab some comwith co-star Kevin McAllister, ofhim! theHe best be placed in a home with another dog, who will help him EST. 1980 panions, buy another set of tickets, and see Ain’t physical D.C. feel morecomedians comfortable in and overcome his shyness. He can’t wait to find his forever home!

—Rebecca J. Ritzel Like members of an improv troupe, all five Misbehavin’ again. actors maintain personas throughout the showto Please contact Rural Dog Rescue www.ruraldogrescue.com complete an application orsegueing visit us at thebetween adoption event this BONDED INSURED 4200 Campbell Ave., Arlington. $40–$114. while also seamlessly more Saturday from 12-2 at Howl To The Chief 733 8th Street SE, DC. specific characters. McAllister is an amiable (703) 820-9771. sigtheatre.org

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18 february 8, 2019 washingtoncitypaper.com

GALLERIESSKETCHES untitled prints (2016) recreate the paint-splattered pages of Baldwin’s text (as the well worn copy from Ligon’s studio appears). The artist has long used Warhol’s techniques to explore Baldwin’s texts as a way to frame the centuries-long struggle of asserting black visibility.

Elsewhere, the show also includes six drawings in oil stick and coal dust from the series, “Study for Negro Sunshine” (2008–2009), the work most typical of Ligon’s style on view here. In a thick, smudgy typewriter typeface, which appears to break down with repetition, Ligon draws over and over the phrase “Negro Sunshine.” It’s a snippet of a passage from Ger“Grey Hands #2,” by Glenn Ligon (1996) trude Stein’s novella Three Lives that employs a crude racial stereotype. A signal that degrades as it echoes, Ligon’s repetitive gestures represent the “lower frequencies” that Ralph Ellison describes in his novel, Invisible Man (another touchstone for Ligon): “Who knows but that, on the lower frequencies, I speak for you?”

In just a single gallery, the de la Cruz preGlenn Ligon: To be a Negro sentation threads a number of needles in Ligon’s work. For that, viewers have the gallery’s in this country is really director to thank: Al Miner, a former hand at never to be looked at At the Maria & Alberto de la Cruz Art Gal- the Hirshhorn Museum and Sculpture Garden, who most recently worked as the curator lery at Georgetown University to April 7 for contemporary art at the Museum of Fine At the center of To be a Negro in this coun- Arts in Boston. There’s even a piece here that try is really never to be looked at, a show of prints breaks new ground, “Study for Negro Sunby Glenn Ligon, is a collaboration between the shine (Red) #2” (2018), a departure from Liartist and Andy Warhol. The project marries gon’s monochromes. A promising start and a five never-before-seen paintings by Ligon with welcome addition for the District.

As a standalone show, To be a Negro in this a wallpaper refabricated by Warhol’s estate. Ligon’s “Grey Hands” screen prints are grainy country is really never to be looked at arguably reproductions of a media handout photo of works best as a second stop after seeing “Untiraised hands from the Million Man March in tled (I Am a Man)” (1988), a painting on view at 1995; Warhol’s rarely seen “Washington Mon- the National Gallery of Art’s East Building and ument” wallpaper features a sunny scribble of possibly Ligon’s finest artwork. The painting reproduces the protest sign born by some 1,300 the obelisk and reflecting pool.

The pairing is practically an essay about striking African-American sanitation workers the National Mall, about how it is pictured in Memphis in 1968, recreating the distinctive and who it is for, perfectly suited to a moment narrow hand-lettered font and underline-forwhen those questions are being relitigated in emphasis that turned the “I Am a Man” postthe news. Ligon’s prints look like dark win- ers into a civil rights image. The painting underdows set in Warhol’s dashed-off landscape scores how Ligon balances activism, repetition, sketches. The project could be a show all its textuality, and (in)visibility in his work—ideas at own, and it’s a signal that Georgetown Uni- the forefront of this Georgetown show.

But Georgetown’s slender mini-survey, an versity’s new Maria & Alberto de la Cruz Art Gallery, which only opened last fall, is already exploration of signing and signification on the National Mall, has a timely function following punching above its weight.

Instead, the Ligon and Warhol exclusive the recent confrontation between a MAGA serves as the backbone of a mini-survey of hat–wearing teen and a Native American vetLigon’s work. The show draws its title from a eran on the National Mall: It’s required read—Kriston Capps 1953 essay by James Baldwin, “Stranger in the ing.

Village,” which recounts the author’s experience as an African-American living in a ham- 3535 Prospect St. NW. Free. (202) 687-8039. let in Switzerland. Two works from a suite of delacruzgallery.georgetown.domains

SEPTEMBER 23, 2018 — MARCH 3, 2019 AT THE BALTIMORE MUSEUM OF ART

SOCIAL STUDIES

“A loose journey of self-discovery that can be read in mythological or biographical terms or, often, both at once.”

— New York Times, April 27, 2017

Mark Bradford: Tomorrow Is Another Day, presented at The Baltimore Museum of Art, is made possible by the Henry Luce Foundation, Maryland State Arts Council – Department of Commerce, Nancy L. Dorman and Stanley Mazaroff, Gabriel and Deborah Brener, Katherine and Joseph Hardiman, John Meyerhoff, M.D. and Lenel Srochi-Meyerhoff, Mafia Papers Studio, and Hauser & Wirth. The project is also supported in part by an award from the National Endowment for the Arts. For more information, visit www.arts.gov.

Mark Bradford, 2017. © Mark Bradford. Photo: Carlos Avendaño

washingtoncitypaper.com february 8, 2019 19

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rate. As a percussionist experienced with visual art, video, and installation—and a friend of Schmidt’s—om.era.kev was an obvious choice. Save for a couple of instances, om.era.

Cairn Sounds kev improvised and recorded all the sound for, At Hamiltonian Gallery to Feb. 16 EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE! and in response to, Schmidt’s videos, and further edited the sound explicitly for the instalFEB 7 FEB 8 FEB 8 FEB 9 FEB 9 Since prehiStory, humanS have had a ten- lation specifics at Hamiltonian. The sound dency to mark and remake the landscape. One of each of the five installations sits within its such ancient way is a cairn, an intentional pile of own sonic frequency range—in this way, it all stones often assembled, among other reasons, sounds perfectly clear. In fact, the musician The 9 made these soundscapes to correspond to the Drivin N Cryin for wayfinding or to commemorate a loss.

Colin Blunstone Michael Henderson jd eicher w/ Lauren Morrow of The Zombies Songwriter Series valentine love concert in the wine garden At Hamiltonian Gallery, Rachel Schmidt’s Chinese elemental system of wood, fire, earth, (of The Whiskey Gentry) w/ His Solo Band in the wine garden Cairn Sounds is comprised of five interrelated metal, and water. Fire, for example, is at the FEB 10 FEB 12-13 FEB 14 FEB 14 FEB 15 sound and video installations, made in collab- top of the frequency range.

The atmospheric sounds composed by oration with musician om.era.kev. The exhibiPaper original file: Adobe InDesign CC 2018 tion pieces together a landscape that’s location- om.era.kev are non-rhythmic and complement 9 ally distinct but uncanny: clouded sky; rocks the almost-immersive quality of the installa1.603”) Non-SAU CMYK rearing through grass and heather moor; sheep tions: crackling, water rushing, metal clangs. an evening with Glabicki of Rusted steve earle’s idling around, and the occasional patch of ob- They’re gentle without putting you at ease. The Tony Craddock, Jr. RC & The Gritz Michael Root with Dirk Miller res/EP Annual Winter Residency Andy McKee [if circled] in the wine garden & Cold Front in the wine garden W/ Shannon McNally w/ Trevor Gordon Hall five videos run separately, with durations rangfuscating glitch.

All the video in Cairn Sounds was captured ing from under four minutes to nearly 20 minFEB 15 FEB 16 FEB 16 FEB 17 FEB 18 while Schmidt was an artist-in-residence at a Sab- utes. As a whole, the installations make up a chohal Mòr Ostaig—a college for Gaelic language, rus of sound and light in the gallery.

The videos are sharply projection-mapped, culture, and arts—on the serene Isle of Skye, Scotland, last summer. During the residency, the artist two are flat on a wall with drawing elements, and became fascinated and heartbroken by the perva- three are on white sculptural environments. Two Nicolay & The DC Moth rahsaan patterson rachael yamagata sive cairns: some prehistoric and some marking, of these more sculptural environments feature— Tim Bowman The Hot At Nights StorySLAM: DELUSIONS (two shows!) w/ connor kennedy in the wine garden perhaps, the victims of a recent car crash. Why do you guessed it—cairns. The installation titled we so badly want to be remembered? And strewn “Forget Me Not” features a pile of paper mold1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531 through the otherwise pastoral scenes and shots ed into small rock-forms on a jagged bed of white paper grass, lightly surrounded by homey panels of lace and sheer Fri & Sat, Feb 8 & 9 at Midnight!

555 11th Street NW voile. Opposite, in “Trash Cairn,” Washington, DC 20004 • (202) 783-9494 a pile of white paper cast in trash shapes, glowing intermittently from LEDs beneath, anchors the projections that surround it.

Bits of trash in the world may be small, but trash is megalithic in its commitment to its own existence, FEATURING LIVE SHADOW CAST its unwillingness to decay. Here, SONIC TRANSDUCERS! Schmidt flips the non-biodegradability narrative and re-envisions our sad plastic human legacy as something that’s actually totally fragile.

Gallery view of “Trash Cairn” by Rachel Schmidt (2019) Outside on a cloudy Scottish of the harbor and inlets are even more modern day, sunlight is so diffuse that shadows just don’t occur. In the tightly, and masterfully, controlled cairns, in the form of trash.

Tourism is a primary sector of the economy installation environment of Cairn Sounds, projecton the Isle of Skye; folks love how “natural” the ed light creates a fully inhabitable space that resisland feels. Schmidt points out, however, that onates with feelings of environmental loss—an like so many other places, the landscape has incessant if hopeless desire to exert control over been irrevocably altered by people: The timber the landscape as an attempt to transcend the cyindustry razed the island of trees, and the sheep cles of life and death. Humans mark and remake from the wool industry have displaced native the land around us, and it’s foolish to think that species. So what, exactly, is natural anymore? In that can change. As the Irish poet Seamus Hea doubling gesture, Schmidt echoes the human aney put it, “As if the cairnstone could defy the action on the physical environment through ag- cairn.” Schmidt, along with om.era.kev, creates gressive manipulations of video, glitching bits a haunted reverberation of this destructive inclination. And yet, there is a simultaneous alternato obliteration.

While in Scotland, Schmidt began to think tive: a slow and quiet process of looking, reflect—Eames Armstrong about the landscape in terms of resonance, ing, and listening. echoes, harmony, and markers of the passage of time. Guided by a musical vocabulary, 1353 U St. NW. Free. (202) 332-1116.

Schmidt approached om.era.kev to collabo- hamiltoniangallery.com RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

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MUSICDISCOGRAPHY

WELCOME TO THE RESISTANCE Rise of the Protester Reginald Cyntje Self-released

The remarkable Thing about Reginald Cyntje’s Rise of the Protester is its thoughtfulness. The long history of jazz as protest music has always trended toward overt displays of anger, sadness, and/or bitterness—intensity, in a word. What’s more, Cyntje plays trombone, whose slide and big bore lend themselves to violent outburst as much as the subject matter does.

But no: Cyntje is an artist of philosophical musings and careful constructions, and he approaches his themes as such, even when the titles augur otherwise. “Chant of the Revolt” has a stomping Afro-Caribbean rhythm (a constant, though usually subtle, presence here as in all of Cyntje’s music) and an upbeat, martial melody that seems destined to go aggro; instead Cyntje plays ponderous long notes in his solo, then switches to danceable rhythmic motifs, and tenor saxophonist Brian Settles does the same in his solo. The same duo takes the helm on “Dance of the Crooked Heads,” and instead of getting caught up in bassist Herman Burney and drummer Lenny Robinson’s frantic swing tempo, they stand against it, as if trying to rein it in—ditto for their determinedly melodic turns on the tune’s reprise.

Even “Duality of Malcolm” trades not on fire—the song’s title, a nod to Malcolm X’s public persona—but on a mellow, sardonic folk form.

That said, it’s suspiciously similar in that regard to Charles Mingus’ “Fables of Faubus,” not least in Burney’s hardplucked bass solo —putting it squarely in the protest-jazz tradition after all.

Rise of the Protester finds Cyntje heading a lean ensemble. By the time of his last album, 2015’s Spiritual Awakening, the Reginald Cyntje Group had grown to seven members: the sound was lush, but also carried power. If Protester’s two-horns-bass-and-drums lineup sacrifices density, it gains directness, sending messages that have fewer obstacles or intermediaries to outflank. “Green” finds Settles able to express his solo in velvety low tones; the spare funk groove of “Duvernay’s Direction” gives Cyntje space to build dynamics, from a quiet prowl to one of his few genuine blasts.

“Duvernay’s Direction” also serves notice of the album’s broad definition of the word protester.

“Protesting comes in many forms,” Cyntje affirms in his liner notes. “Music, film, books, marching, teaching, and voting.” Hence filmmaker Ava DuVernay gets a spotlight. So does Ta-Nehisi Coates in “See Ta-Nehesy,” a portrait of grim determination driven by a smart bass hook.

That said, an awful lot of the record rests in the typical “march-and-shout slogans” conception of protest, from “Chant of the Revolt” and the mournful “No Justice No Peace” to “Blues People vs the Deplorables,” on which Cyntje and Settles trade argumentative barbs, turning the heat up every now and then but tempering it with in-the-moment melodic craftsmanship. That’s the other remarkable thing about Rise of the Protester: It operates in short statements. “Araminta,” its furtive opening glance at Harriet Tubman, is by far the album’s longest track, at just under seven minutes. Striving for nuance usually elongates rather than shortens. But Cyntje, like so many protesters, isn’t providing answers—just questions.

—Michael J. West

Jazz Jason Moran

Artistic Director

Nicholas Payton: Afro-Caribbean Mixtape Friday, March 15 at 7 p.m. | Terrace Theater

The New Orleans–born trumpeter, pianist, singer, and composer presents his signature BAM, “Black American Music,” exploring art beyond the confines of genre classification, with pieces from his ambitious 2017 album that fuses the musical traditions of his Louisiana hometown with bebop, swing, blues, and soul, all rooted in the rhythms of Africa.

Part of The Human Journey exploration: Kennedy-Center.org/HumanJourney

Crossroads Club

Nate Smith + KINFOLK with Van Hunt Saturday, March 16 at 9 p.m. | Atrium

Drummer Nate Smith is joined by neo-soul singer/songwriter Van Hunt for Smith’s first solo project—a fresh and restless urban pop/jazz hybrid that will have everyone in the Crossroads Club grooving easy. All tickets are general admission—standing room only.

Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Listen to “Rise of the Protester” at washingtoncitypaper.com/arts washingtoncitypaper.com february 8, 2019 21

22 february 8, 2019 washingtoncitypaper.com

CITYLIST

COWBOY MOUTH + ERIC LINDELL’S FAT TUESDAY

Music 23 Theater 27 Film 28

Music

CITY LIGHTS: FRIDAY

(LOCATED IN UPSTAIRS DINING ROOM) $45/$55/RESERVED SEATING $100

FRIDAY

★

BLUES

THE HAMILTON 600 14th St. NW. (202) 787-1000. Karl Stoll & The Danger Zone. 10:30 p.m. Free. thehamiltondc.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. The Nighthawks. 7:30 p.m. $20. jamminjava.com.

CABARET

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. The Mason Cabaret presents The Golden Age of Broadway. 8 p.m. $15–$30. hyltoncenter.org.

CLASSICAL

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 405-2787.

At the Feet of the Master: Eugène Ysaÿe. 7 p.m. Free. theclarice.umd.edu.

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. Shanghai Opera Symphony Orchestra. 8 p.m. $36–$60. hyltoncenter.org.

ELECTRONIC

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Hotel Garuda. 10 p.m. $15–$20. soundcheckdc.com.

FOLK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Arlo Guthrie. 7:30 p.m. $65. birchmere.com.

FUNK & R&B

DC9 1940 9th St. NW. (202) 483-5000. That 1 Guy. 7:30 p.m. $15. dcnine.com.

HOWARD THEATRE 620 T St. NW. (202) 803-2899.

Angie Stone. 8 p.m. $42.50–$75. thehowardtheatre. com.

GOSPEL

GEORGE MASON UNIVERSITY CENTER FOR THE ARTS 4373 Mason Pond Drive, Fairfax. (888) 9452468. Trey McLaughlin & The Sounds of Zamar. 8 p.m. $26–$44. cfa.gmu.edu.

HIP-HOP

9:30 CLUB 815 V St. NW. (202) 265-0930. Bass Nation Presents Space Jesus. 10:30 p.m. $25. 930.com.

LUCINDA WILLIAMS

When is the last time you’ve listened to Lucinda Williams? Not the last time you heard one of her tunes, but really sat down to listen to 1998’s stellar Car Wheels on a Gravel Road or her timeless 1988 self-titled album? If you have listened recently, then you know, but if you haven’t then you might have forgotten: Lucinda Williams is a goddamned national treasure. Her blend of Americana, country, and blues in her 1988 album helped to pioneer the alternative country genre, along with bands like Uncle Tupelo, Old 97’s, The Jayhawks, Whiskeytown, and DriveBy Truckers. That first generation of alt-country groups paved the way for others to break out into the mainstream, like current superstars Jason Isbell, Sturgill Simpson, and even Kacey Musgraves. But while the new generation of the genre’s torch-bearers are tearing up the country music world, the old heads are still going strong: In 2016, Williams released her 12th studio album, The Ghosts of Highway 20, and it’s just as sweet and polished as her first one. On her current tour, she’ll be joined by Drive-By Truckers, who similarly have kept, er, truckin’ along after all these years, grinding out album after gritty, whiskey-soaked album. Lucinda Williams performs with Drive-By Truckers at 8 p.m. at The Anthem, 901 Wharf St. SW. $40–$75. (202) 888-0020. theanthemdc.com.

—Matt Cohen

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. 4th Ave. 8 p.m. $10–$12. songbyrddc.com.

ROCK

JAZZ

THE ANTHEM 901 Wharf St. SW. (202) 888-0020.

SATURDAY BLUES

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Nicole Henry. 8 p.m.; 10 p.m. $30. bluesalley. com.

Drive-By Truckers and Lucinda Williams. 8 p.m. $40– $75. theanthemdc.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Kiss & Ride. 10:30 p.m. Free. thehamiltondc.com.

POP

STATE THEATRE 220 N. Washington St., Falls Church.

CLASSICAL

(703) 237-0300. Bruce in the USA. 9 p.m. $25.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Schumann’s Piano Concerto. 8 p.m. $15–$89. kennedy-center.org.

9:30 CLUB 815 V St. NW. (202) 265-0930. Coin. 6 p.m. $25. 930.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Go Go Gadjet. 8 p.m. $7.75–$15.50. fillmoresilverspring.com.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Nellie McKay. 7:30 p.m. $25– $35. kennedy-center.org.

thestatetheatre.com.

WORLD MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Ladysmith Black Mambazo. 8 p.m. $29–$69. strathmore.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Washington Performing Arts presents Leon Fleisher. 7:30 p.m. $65. kennedy-center.org.

★

THU 2/7 SAM BURCHFIELD/ PIERCE EDENS $12/$15 FRI 2/8 MOOSE JAW BLUEGRASS SAT 2/9 REED SOUTHHALL BAND + KODY WEST $12/$15 THU 2/14 WILD ADRIATIC + CHESTNUT GROVE $12/$15 FRI 2/15 HUMAN COUNTRY JUKEBOX ) SAT 2/16 BELLAS BARTOK THU 2/21 OLIVER CRAVES FRI 2/22 JIVE MOTHER MARY SAT 2/23 FOLK SOUL REVIVAL $15/$17 THU 2/28 MELANIE BRULEE BAND FRI 3/1 RAY SCOTT $15/$20 SAT 3/2 HONEY DEW DROPS ALBUM RELEASE $15 THU 3/7 THE SEA THE SEA $10/$15 FRI 3/8 WOODSHEDDERS $5 SAT 3/9 JESS ELIOT MYHRE & THE HONKY TONK HEROES TWO-STEPPIN’ DANCE PARTY $10 THU 3/14 ANDREA VON KAMPDEN $12/$15 HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com february 8, 2019 23

CITY LIGHTS: SATURDAY

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

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

Tix @ Ticketmaster.com 800-745-3000

Feb 8

ARLO GUTHRIE "Alice's Restaurant" Tour with Sarah Lee Guthrie

ESTELLE

10

“Experience Lover’s Rock Live!”

13

DAVID SANBORN

14

BURLESQUE-A-PADES IN LOVELAND “A Valentine's Day Spectacular”

feat. Angie

Pontani, Murray Hill, & more!

LIVE MUSIC | BOURBON | BURGERS

FEBRUARY FR 8

WELLES

FR 8

DRIVE BY TRUCKERS AFTER PARTY FEATURING THE BEANSTALK LIBRARY

SA 9

FLASHBAND PRESENTED BY 7DRUMCITY

16 Daryl Davis Presents: Thanks For The Memories – 2018

A tribute to the musicians we loved and lost in 2018.

Featuring DC area's finest musicians!

21

Bonnie JAMES McMURTRY Whitmore

24

JEFFREY OSBORNE

27&28 Mar 1

MARSHALL CRENSHAW & THE BOTTLE ROCKETS

Empty BOB SCHNEIDER ThePockets 3 SWEET HONEY IN THE ROCK 7 MADELEINE PEYROUX & PAULA COLE

2

8

THE MANHATTANS featuring Gerald

alston

SUGAR SAMMY 10 THE HIGH KINGS 9

14 15 16 18

TU 12 ELISE DAVIS w/ CONOR AND THE WILD HUNT WE 13 SARAH SHOOK & THE DISARMERS w/ SPECIAL GUESTS NATIONAL RESERVE TH 14 WIL GRAVATT FR 15 BLUES & SOUL NIGHT FEATURING FAST EDDIE & THE SLOWPOKES FR 22 DANNY BURNS w/ BELLWETHER BAYOU SA 23 GOOSE SURPRISE ATTACK SU 24 SOUTHWEST SOUL SESSIONS w/ ELIJAH BALBED & ISABELLE DE LEON TH 28 ROCKABILLY NIGHT FEATURING KITI GARTNER & JAY JENC (FROM JUMPIN’ JUPITER)

MARCH

KINKY FRIEDMAN & DALE WATSON "Long Tales & Short Songs

FR 1

BENCOOLEN SWIFT TECHNIQUE

DEL & DAWG

SU 3

GRAMMY NOMINATED FOR BEST CONTEMPORARY BLUES ALBUM DANIELLE NICOLE BAND w/ ASHLEIGH CHEVALIER

(Del McCoury & David Grisman)

TOM RUSH Reed TODD SNIDER Foehl

TU 5

Cash Cabin Sessions Vol. 3, Album Release Tour!

19 20 22

WE THREE LUNASA OHIO PLAYERS

A MARDI GRAS CELEBRATION ON THE WHARF FEATURING THE CRAWDADDIES

TH 7

WIL GRAVATT

FR 8

PSYCH NIGHT FEATURING PYSCHEDELIC PORN CRUMPETS FRANKIE & THE WITCH FINGERS

SU 10 THUMPASAURUS

APRIL 2, 2019 - 8PM TICKETS ON SALE NOW AT TICKETMASTER.COM/800-745-3000. presents

pearlstreetwarehouse.com

FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF

24 february 8, 2019 washingtoncitypaper.com

ZVIDANCE

With Dabke, Israeli-born choreographer Zvi Gotheiner set out to create an evening-length work that found common idioms in both Arab and Jewish folk dances. Hence, he gave it a title that translates to “the stomping of feet” in Arabic and is one vowel switch away from the comparable Hebrew term “debka.” His collaborator on the project was the Syrian singer Ali El Deek, but by 2013, a year after Dabke premiered in New York, the situation in Syria had descended from protests into civil war. Gotheiner had no idea whether Deek was dead or alive. (He did survive.) Even without that backstory, Dabke is still a harrowing, transformative hour of dance. Folk rhythms alternate with electronic music, and eight dancers demonstrate facility with both. How can these ancient cultures, religions, and modernity coexist? Seven years after Dabke premiered, we are no closer to finding an answer. The show runs to Feb. 10 at Dance Place, 3225 8th St. NE. $15–$30.

(202) 269-1600. danceplace.org.

—Rebecca J. Ritzel

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Mozart Symphony No. 40. 8 p.m. $25–$80. strathmore.org.

COUNTRY

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Old Dominion. 8 p.m. $45–$399. theanthemdc.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Montgomery Gentry. 8 p.m. $29.50. fillmoresilverspring.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Wade Bowen. 9 p.m. $17–$20. gypsysallys.com.

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Read Southall Band and Kody West. 9:30 p.m. $12– $15. hillcountrywdc.com.

DJ NIGHTS

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

REV909. 10:30 p.m. $10–$12. ustreetmusichall.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Sy Smith. 8 p.m.; 10 p.m. $25–$30. bluesalley. com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Form of Expression and The M.F.B. 9:30 p.m. $10–$20. jamminjava.com.

JAZZ LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Joe Jackson. 8 p.m. $55–$75. thelincolndc.com.

OPERA BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Le vin herbé. 7:30 p.m. $35–$75. wolftrap. org.

ROCK

ELECTRONIC

9:30 CLUB 815 V St. NW. (202) 265-0930. All Good Presents Spafford. 8 p.m. $20. 930.com.

FOLK

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Enter the Haggis. 8 p.m. $27–$37. ampbystrathmore.com.

UNION STAGE 740 Water St. SW. (877) 987-6487.

David August. 10:30 p.m. $10–$20. unionstage.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Arlo Guthrie. 7:30 p.m. $65. birchmere.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Eric Brace, Peter Cooper & Thomm Jutz Trio. 6 p.m. $15–$22. jamminjava.com.

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Valerie June. 8 p.m. $35–$38. sixthandi.org.

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. A Tribute To The Music Of Maze and Frankie Beverly and The Gap Band. 8 p.m. $35–$40. bethesdabluesjazz.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Love Songs: The Beatles. 8 p.m. $25–$75. thehamiltondc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Bruce in the USA. 9 p.m. $25. thestatetheatre.com.

WORLD GEORGE MASON UNIVERSITY CENTER FOR THE ARTS 4373 Mason Pond Drive, Fairfax. (888) 9452468. Havana Cuba All-Stars. 8 p.m. $30–$50. cfa. gmu.edu.

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

FLORENCE + THE MACHINE w/ Blood Orange ......... JUNE 3 On Sale Friday, February 8 at 11am

BRANDI CARLILE ....................................................... FRI JUNE 14

THIS WEEK’S SHOWS

On Sale Friday, February 8 at 10am

ALL GOOD PRESENTS

Spafford w/ Of Tomorrow ....................................................................... Sa FEB 9 Panda Bear w/ Home Blitz ............................................................................ M 11 Dorothy w/ Spirit Animal ............................................................................... Tu 12 FEBRUARY

MARCH (cont.)

Bob Mould Band w/ Titus Andronicus ...................Th 14 Galactic feat. Erica Falls

(F 15 - w/ High & Mighty Brass Band • Sa 16 - w/ Aztec Sun) .....F 15 & Sa 16

The Knocks w/ Young & Sick • Blu DeTiger ...Su 17 Jacob Banks ...........................Tu 19 Michael Ray w/ Ryan Griffin ...Th 21 Cherub w/ Mosie Late Show! 10pm Doors ......................F 22 T ADDED! NIGHT SOLD OUT! SECOND NIGH

FIRST

Vince Staples w/ Buddy & Armani White ..........Sa 23 You Me At Six w/ Dreamers & Machineheart ....Su 24 Pat Green and Aaron Watson ...............W 27 Big Head Todd & The Monsters w/ Blue Water Highway ..............Th 28

ALL GOOD PRESENTS

BoomBox ....................................F 8 ALL GOOD PRESENTS

The Motet w/ No BS! Brass Band .................Sa 9 Sabrina Carpenter ...............Su 10 ALL GOOD PRESENTS

J Boog w/ EarthKry & Eddy Dyno .M 11

Whitesnake • Extreme • Warrant • Skid Row • Vince Neil • Kix and more! .....................................................MAY 3-5 For a full lineup, visit m3rockfest.com

Slayer w/ Lamb of God • Amon Amarth • Cannibal Corpse ................................... MAY 14 Jason Aldean w/ Kane Brown • Carly Pearce • Dee Jay Silver ..................... MAY 17 Phish ........................................................................................................ JUNE 22 & 23 Third Eye Blind & Jimmy Eat World w/ Ra Ra Riot ........ JULY 19 Train/Goo Goo Dolls w/ Allen Stone ..............................................AUGUST 9 Chris Stapleton w/ Margo Price & The Marcus King Band .................. AUGUST 11 JUST ANNOUNCED!

The Chrysalis at Merriweather Park

LORD HURON w/ Bully ....................................................................... JULY 23 On Sale Friday, February 8 at 10am

ALL GOOD PRESENTS

Trevor Hall w/ Dirtwire & Will Evans ............Tu 12 Smallpools ...............................W 13 ALL GOOD PRESENTS

Mike Gordon ............................F 15 Teenage Fanclub w/ The Love Language ...............Sa 16 Jonathan McReynolds ........Su 17 ALL GOOD PRESENTS

Railroad Earth Two-night passes available. ..F 22 & Sa 23 AN EVENING WITH

Nils Frahm .............................Su 24

Ticketmaster • merriweathermusic.com • impconcerts.com

Capital One Arena • Washington, D.C.

Disturbed w/ Three Days Grace .........................................................................FEB 21 MUSE .................................................................................................................. APRIL 2 Ticketmaster

Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED! D NIGHT ADDED! FIRST NIGHT SOLD OUT! SECON

IMOGEN HEAP with special guest Guy Sigsworth of Frou Frou ...SAT MAY 4 On Sale Friday, February 8 at 10am

TRILLECTRO PRESENTS

MARCH

AEG PRESENTS

Lil Mosey w/ Polo G .................W 27 Failure & Swervedriver .....Th 28

Early Show! 6pm Doors ........................F 1

U STREET MUSIC HALL PRESENTS

Cole Escola This is a seated show.

STEEZ PROMO PRESENTS

Manic Focus Late Show! 10pm Doors ......................F 1 Deerhunter w/ L’Rain Early Show! 6pm Doors ......................Sa 2 BASS NATION PRESENTS

Dirt Monkey Late Show! 10pm Doors ....................Sa 2 Citizen Cope w/ David Ramirez .Su 3 WET and Kilo Kish w/ Hana Vu ...................................Tu 5 ALL GOOD PRESENTS

JJ Grey & Mofro w/ Southern Avenue ....................Th 7

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

M3 ROCK FESTIVAL FEATURING

Big Wild w/ Robotaki & Mild Minds ...........F 29 STEEZ PROMO PRESENTS

Boogie T.rio w/ Mersiv & Vampa ...................Sa 30

APRIL

Let’s Eat Grandma ..................M 1 BASS NATION PRESENTS

Getter ........................................Tu 2 Patty Griffin ...............................W 3 Emily King .................................Th 4

930.com

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

Story District’s Whindersson Nunes .......... MAR 23 Sucker For Love ................... FEB 14 Meow Meow + ALL GOOD PRESENTS Thomas Lauderdale AN EVENING WITH (of Pink Martini) .............................. MAR 25 The Mavericks ........................ MAR 8 Spiritualized ............................APR 16 Alice Smith ................................. MAR 9 Citizen Cope .............................APR 17 AURORA w/ Talos....................... MAR 10 JOHNNYSWIM .........................MAY 15 José González & The String Theory............ MAR 20 Josh Ritter & The Royal City Band w/ Penny & Sparrow ............MAY 17 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Cherry Glazerr Julia Holter w/ Jessica Moss ........Tu 19 w/ Mannequin Pussy ............... W FEB 13 Gang of Four ...........................Th 21 9:30 & TRILLECTRO PRESENT MadeinTYO w/ Thutmose & Key! ..... M 18

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

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

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

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

The Suffers w/ Jeremie Albino ......Sa 23

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

930.com washingtoncitypaper.com february 8, 2019 25

ROCK

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Eyelids. 9 p.m. $12–$14. cometpingpong. com.

CITY LIGHTS: SUNDAY

TUESDAY CLASSICAL

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. Piotr Pakhomkin. 12:30 p.m. $27–$47. hyltoncenter.org.

ELECTRONIC

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Maribou State. 7 p.m. $15–$18. ustreetmusichall.com.

FUNK & R&B

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Got My Own Sound. 8 p.m.; 10 p.m. $22. bluesalley.com.

HIP-HOP

UNION STAGE 740 Water St. SW. (877) 987-6487. YNW Melly. 8 p.m. $18–$35. unionstage.com.

POP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. David Bisbal. 8 p.m. $45. fillmoresilverspring.com.

ROCK

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

ALVIN AILEY AMERICAN DANCE THEATER

For its 60th anniversary, the nation’s premier black dance company is presenting works that push its art in new directions. Its Sunday program features performances of Ronald K. Brown’s “The Call,” a mix of modern and African dance, and Wayne McGregor’s “Kairos,” which uses walls to create a dramatic world onstage. But it’s the company’s signature choreographic work, which debuted way back in 1960, before Martin Luther King Jr. was shot and before he delivered his “I Have a Dream” speech, that endures. Ailey’s “Revelations” never fails to inspire genuine optimism, getting the audience clapping to spirituals like “Wade in the Water” and “Rocka My Soul in the Bosom of Abraham.” The piece has proven to be its own kind of spiritual, of both hope and redemption. The Sunday program will end, as all programs do, with “Revelations.”

The show begins at 1:30 p.m. at the Kennedy Center Opera House, 2700 F St. NW. $59–$219. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

SUNDAY

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Sy Smith. 8 p.m.; 10 p.m. $25–$30. bluesalley. com.

ALL SOULS CHURCH UNITARIAN 1500 Harvard St. NW. (202) 332-5266. Washington Performing Arts presents Promised Lands? Of Leaving and Longing. 2 p.m. Free. all-souls.org.

JAZZ

BAIRD AUDITORIUM AT NATIONAL MUSEUM OF NATURAL HISTORY 10th Street and Constitution Avenue NW. (202) 633-3030. Rob Kapilow. 6 p.m. $25. residentassociates.org.

OPERA

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 4052787. Faculty Artist Series: Strata, A Thousand Whirling Dreams. 3 p.m. Free. theclarice.umd.edu.

ROCK

CLASSICAL

DUMBARTON OAKS 1703 32nd St. NW. (202) 3396401. Polonsky-Shifrin-Wiley Trio. 7 p.m. $54. doaks. org.

NATIONAL GALLERY OF ART WEST GARDEN COURT 4th Street and Constitution Avenue NW. (202) 8426941. SO Percussion. 3:30 p.m. Free. nga.gov.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 3872151. Alessio Bax. 4 p.m. $5–$45. phillipscollection. org.

ELECTRONIC

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. SRSQ. 8 p.m. $13–$15. songbyrddc.com.

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

WEDNESDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Royal Concertgebouw Orchestra. 8 p.m. $55–$150. kennedy-center.org.

ELECTRONIC SOUNDCHECK 1420 K St. NW. (202) 789-5429. Saymyname. 10 p.m. $10–$15. soundcheckdc.com.

FUNK & R&B BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. KiDe. 8 p.m.; 10 p.m. $22. bluesalley.com.

JAZZ BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. David Sanborn. 7:30 p.m. $49.50. birchmere.com.

POP FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. David Bisbal. midnight $45. fillmoresilverspring.com.

ROCK 9:30 CLUB 815 V St. NW. (202) 265-0930. Andrew McMahon In The Wilderness. 6:30 p.m. $40.50. 930. com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Cherry Glazerr. 7 p.m. $20. ustreetmusichall.com.

CITY LIGHTS: MONDAY

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Archie Shepp’s Tribute to John Coltrane. 8 p.m. $20–$59. kennedy-center.org.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Le vin herbé. 3 p.m. $35–$75. wolftrap.org.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Bach to Rock South Riding. noon $5. jamminjava.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. SCR. 9 p.m. Free. songbyrddc.com.

MONDAY CLASSICAL

DUMBARTON OAKS 1703 32nd St. NW. (202) 3396401. Polonsky-Shifrin-Wiley Trio. 8 p.m. $54. doaks. org.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. The Spring Bloom Grand Ceremony.

8 p.m. $20–$50. kennedy-center.org.

POP 9:30 CLUB 815 V St. NW. (202) 265-0930. Panda Bear.

7 p.m. $25. 930.com.

26 february 8, 2019 washingtoncitypaper.com

MARK G. MEADOWS

The ever-restless pianist Mark G. Meadows is a finely honed composer in his own right, but he is no less skilled in jazz repertory. For evidence, look no further than Signature Theatre, where Meadows is at the core of a revival of the revue Ain’t Misbehavin’: The Fats Waller Musical Show.

But if Meadows deftly applies his chops to “Mean to Me” and “Honeysuckle Rose,” the theater’s limitations don’t let him stretch out on the tunes the way a good jazz player should. The solution is to bring selections from the stage show to the bandstand at Blues Alley. Meadows, his quartet (saxophonist Grant Langford, bassist Michael Bowie, and drummer C.V. Dashiell), and the singing members of Ain’t Misbehavin’s cast (including Nova Y. Payton, Iyona Blake, Kevin McAllister, and their understudies) bring the Waller book, along with a few of Meadows’ originals and arrangements, to Georgetown. There, they’ll have room to give the songs some twists of their own. Mark G. Meadows performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Ave. NW. $20.

(202) 337-4141. bluesalley.com.

—Michael J. West

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Mary Lou and the Drugstore Lovers, Fat Chance and Mudlark. 7 p.m. $100–$150. jamminjava.com.

CITY LIGHTS: TUESDAY

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Valley Queen. 8 p.m. $12– $14. songbyrddc.com.

Theater

ADMISSIONS When the Ivy League ambitions of their successful son are jeopardized, white progressives Bill and Sherri (headmaster and admissions dean at a New England boarding school) must struggle to reconcile their public-facing credo with their private actions. Studio Theatre. 1501 14th St. NW. To March 3. $20–$101. (202) 332-3300. studiotheatre.org.

AIN’T MISBEHAVIN’ Signature Theatre transforms into Harlem for this swing-filled, Tony-winning celebration of the songs of legendary jazz pianist, composer, singer, and entertainer Thomas “Fats” Waller.

Signature Theatre. 4200 Campbell Ave., Arlington. To March 10. $40–$84. (703) 820-9771. sigtheatre.org.

AMONG THE DEAD Three time periods come together in a small Korean hotel room: A Korean American travels to Seoul in 1975 to retrieve her father’s ashes, a young American soldier fights in the Burmese jungles in 1944, and a Korean comfort woman awaits the return of her father’s daughter in 1950. Spooky Action Theater. 1810 16th St. NW. To March 10. $20–$40.

(202) 248-0301. spookyaction.org.

ARSENIC AND OLD LACE Chock-full of homicidal maniacs, the Brewster family must dodge the local Brooklyn police as protagonist and drama critic Mortimer navigates their criminal plots and his relationship to the minister’s daughter. A classic black farce featuring spinster aunts, a Teddy Roosevelt delusion, and devious plastic surgery. Thomas Jefferson Theater. 125 S. Old Glebe Rd., Arlington. To Feb. 16. $15– $25. (703) 532-5479. arlingtonarts.org.

YNW MELLY

As far as breakthrough singles go, YNW Melly’s “Murder On My Mind” is an unlikely candidate. With a sparse, slowed-down beat powered by a simple piano melody, it certainly won’t get any parties started. The funereal production gets even more melancholy when YNW Melly, a 19-year-old rapper from Gifford, Florida, gets on the mic with his tales of jailhouse isolation, smoky self-medication and, most evocatively, a fictional account about accidentally murdering a friend and holding him until he dies. Despite all that, the song—one of many he conceptualized while locked up—became a viral hit, and thanks to his naked vulnerability and an ear for melody reminiscent of Lil Uzi Vert and Fetty Wap, there are likely more hits where “Murder On My Mind” came from. Melly has already scored collaborations with Kanye West and Lil B, and behind the moody melodies of his new mixtape We All Shine, there’s even a bit of hope. YNW Melly performs at 8 p.m. at Union Stage, 740 Water St. SW. $18–$35. (877) 987-6487. unionstage.com.

—Chris Kelly

WORLD

JAZZ

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. Anjali Taneja. 7:30 p.m. $17. strathmore.org.

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Veronneau. 8 p.m. $25– $45. ampbystrathmore.com.

THURSDAY

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Valentine’s Day with Marion Meadows. 7 p.m.; 10 p.m. $90. bluesalley.com.

CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Romeo & Juliet. 7 p.m. $15–$89. kennedy-center.org.

FUNK & R&B DAR CONSTITUTION HALL 1776 D St. NW. (202) 6284780. Valentine’s Soul Jam. 8 p.m. $49–$125. dar.org.

KENNEDY CENTER EISENHOWER THEATER 2700 F St. NW. (202) 467-4600. PJ Morton. 8 p.m. $49–$69. kennedy-center.org.

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Tony Sands. 8 p.m. $15–$39.75. thehamiltondc.com.

ROCK 9:30 CLUB 815 V St. NW. (202) 265-0930. Bob Mould Band. 7 p.m. $25. 930.com.

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Beirut. 8 p.m. $41–$76. theanthemdc.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. 1964 The Tribute. 8 p.m. $38–$42. wolftrap. org.

HIP-HOP

DC9 1940 9th St. NW. (202) 483-5000. The Parrots and Mozes And The Firstborn. 8 p.m. $12. dcnine.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Yung Gravy. 9 p.m. $22– $99. fillmoresilverspring.com.

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Wild Adriatic and Chestnut Grove. 8:30 p.m. $12–$20. hillcountrywdc.com.

THE BALTIMORE WALTZ In this 1992 Obie Awardwinner from Pulitzer Prize-winner Paula Vogel, Anna contracts ATD (Acquired Toilet Disease), a fictitious fatal affliction common among elementary school teachers who share bathrooms with young children, and flies to Europe with her brother Carl for one last pleasure-seeking extravaganza. Dedicated to Vogel’s brother Carl (who died of AIDS-related complications in the 80s), The Baltimore Waltz is a tragic farce in honor of the ties that bind. Keegan Theatre. 1742 Church St. NW. To Feb. 19. $40–$50. (202) 265-3767. keegantheatre.com.

BLKS Friends Octavia, June, and Imani attempt to party their cares away over the course of one long New York night in this radical centering of Black sisterhood and queerness from poet/playwright Aziza Barnes. Woolly Mammoth Theatre. 641 D St. NW. To March 3 $20–$69. (202) 393-3939. woollymammoth.net.

THE BROTHERS SIZE Written by Tarell Alvin McCraney (an Academy Award winner for the 2016 Best Picture Moonlight), The Brothers Size follows the reunion of two estranged brothers in the Louisiana bayou. The Chicago Tribune calls it “the greatest piece of writing by an American playwright under 30 in a generation or more.” 1st Stage. 1524 Spring Hill Road, McLean. To Feb. 24. $15–$39. (703) 854-1856.

1ststagetysons.org.

CYRANO DE BERGERAC The long-nosed soldier/ poet Cyrano de Bergerac teams up with his betterlooking friend Christian to win the heart of his lady love in Edmond Rostand’s celebrated play. Expressive movements replace Rostand’s couplets in this wordless adaptation at Synetic Theater. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 10. $10–$50. (866) 811-4111. synetictheater.org.

THE HEIRESS Reserved and ordinary, Catherine Sloper has languished for her entire life under the critical eye of her bitter father. When an earnest suitor rekindles Catherine’s hopes for love and life, a betrayal soon compels her to reclaim agency over her destiny. Arena Stage. 1101 6th St. SW. To March 10. $41–$99. (202) 488-3300. arenastage.org.

HUCKLEBERRY FINN’S BIG RIVER An hour-long, PGrated adaptation of the Tony-winning musical based on Mark Twain’s novel. The play follows Huck Finn and Jim, an enslaved teen escaping bondage, as they travel down the Mississippi River and prove that kids can change the world. Adventure Theatre MTC. 7300

MacArthur Blvd., Glen Echo. To March 10. $20. (301) 634-2270. adventuretheatre-mtc.org.

KLEPTOCRACY From director Jackson Gay comes this fictional play inspired by historic events, a worldpremiere drama by Kenneth Lin (House of Cards) which turns the spotlight on U.S.-Russia relations. In the ensuing rampage of hyper-capitalism after the pivotal moment of the Soviet Union’s collapse, the Oligarchs, a new class of robber barons, plunge Russia into a terrifying dark age of chaos and corruption. When the richest and most ruthless Oligarch attempts to reform and open Russian markets to the world, he’s confronted by a young Vladimir Putin who is charting his own path to power. Arena Stage. 1101 6th St. SW. To Feb. 24. $56–$115. (202) 488-3300. arenastage.org.

THE MASTER AND MARGARITA When the Devil arrives in Bulgakov’s classic 20th century novel, Moscow is thrown into chaos as death and supernatural events besiege the city. Constellation Theatre Company presents a subversive take on the events that follow the titular Master (locked up in a mental institution) and Margarita (his brave lover) as they race to end the ungodly phenomena. Constellation Theatre at Source. 1835 14th St. NW. To March 3. $15–$45.

(202) 204-7741. constellationtheatre.org.

NELL GWYNN Former Drury Lane orange seller Eleanor Gwynn was a prolific comic celebrity figure of the Restoration period, King Charles II’s favorite mistress, and one of the first actresses on the English stage.

Much lauded for its London run, Nell Gwynn, a portrait of this amazing woman, premiered at Shakespeare’s Globe and won the 2016 Olivier Award for Best New Comedy. Folger Shakespeare Library. 201 E. Capitol St. SE. To March 10. $42–$79. (202) 544-7077. folger.edu.

ONCE This Tony-winning musical with music and lyrics by Glen Hansard and Markéta Irglová, based on the 2006 film which won an Oscar for Best Original Song, took Broadway by storm with its romantic folk-rock ballads. Set in contemporary Dublin, Once ponders the mysteries of music and love as a street guitarist is about to give up on his dreams when he meets a curious woman who wants to know all about him and the pair embark on a remarkable musicmaking journey. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To March 10. $37–$84.

(301) 924-3400. olneytheatre.org.

REYKJAVÍK In the 24-darkness of Reykjavík’s bitter winter, James becomes enmeshed in a strange, supernatural world of menacing strangers, threatening romance, and the enigmatic Huldufólk in this genre-bending tale of suspense at the edge of the earth. Rorschach Theatre at Atlas Performing Arts Center. 1333 H St. NE. To March 3. $50–$80 for a season subscription. (202) 399-7993. rorschachtheatre.com.

RICHARD THE THIRD This Shakespearean tragedy depicts the Machiavellian tactics employed by the ruthless Richard of Gloucester to attain the crown at any cost. A penetrating account of megalomania.

Shakespeare Theatre Company Studios. 610 F Street NW. To March 10. $44–$125. 202-547-1122. shakespearetheatre.org.

THREE SISTAHS Inspired by Anton Chekhov’s play, this musical blends gospel, rhythm & blues, bebop and funk to portray three women who reflect on the past, present, and future during the height of the civil rights and anti-war movements of 1969. MetroStage.

1201 N. Royal St., Alexandria. To Feb. 24. $55. (703) 548-9044. metrostage.org.

TWELVE ANGRY MEN After hearing what all but one deem damning testimony, twelve jurors—all with their own biases and perspectives—comb over evidence and debate the concept of reasonable doubt as the life of a teenager accused of murder hangs in the balance. Ford’s Theatre. 511 10th St. NW. To Feb. 17. $20– $62. (202) 347-4833. fords.org.

WORLD STAGES: NEOARCTIC By way of classical voice, electronica, dramatic staging, and NASA photography, NeoArctic addresses the Anthropocene, a new geological age characterized by humanity’s impact on earth’s natural systems. Twelve soundscapes represent twelve landscapes to tell the story of our planet and its future. Kennedy Center Terrace Theater. 2700 F St. NW. To Feb. 16. $35–$49. (202) 467-4600. kennedy-center.org.

washingtoncitypaper.com february 8, 2019 27

CITY LIGHTS: WEDNESDAY

Film

COLD PURSUIT Based on the 2014 Norwegian Stellan Skarsgård-starring film In Order of Disappearance, Liam Neeson stars as a snowplow driver who seeks revenge against the drug dealers he believes killed his son. Co-starring Laura Dern and Tom Bateman. (See washingtoncitypaper.com for venue information) EVERYBODY KNOWS A Spanish woman living in Buenos Aires has her trip to her hometown outside Madrid for her sister’s wedding interrupted by unexpected events that bring secrets out into the open.

Starring Penélope Cruz, Javier Bardem, and Ricardo Darín. (See washingtoncitypaper.com for venue information) GLASS In this entry into M. Night Shyamalan’s cinematic universe, Unbreakable’s Samuel L. Jackson reprises his role as Mr. Glass and Bruce Willis reprises his role as David Dunn, who tracks a disturbed man with multiple identities, Kevin Wendell Crumb from Split. Co-starring James McAvoy and Sarah Paulson. (See washingtoncitypaper.com for venue information) THE KID WHO WOULD BE KING When a young boy named Alex stumbles upon the mythical sword Excalibur, he joins forces with a band of fellow youngins and the great wizard Merlin to defeat the medieval menace Morgana. Starring Rebecca Ferguson, Tom Taylor, and Patrick Stewart. (See washingtoncitypaper.com for venue information)

THE LEGO MOVIE 2: THE SECOND PART After the five years since the events of The LEGO Movie, in which everything was awesome, the citizens now face a huge new threat—the LEGO DUPLO invaders from outer space who wreck everything faster than they can rebuild. Starring Chris Pratt, Elizabeth Banks, and Will Arnett. (See washingtoncitypaper. com for venue information) MISS BALA A young woman named Gloria gets drawn into a dangerous world of cross-border crime as she battles a ruthless drug cartel to save her kidnapped friend in Mexico. Starring Gina Rodriguez, Anthony Mackie, and Ismael Cruz Cordova. (See washingtoncitypaper.com for venue information) OUTLAWS Within the underworld of outlaw motorcycle club gangs, the heir to one club’s throne must betray his leader to save his brother. Starring Ryan Corr, Abbey Lee, and Simone Kessell. (See washingtoncitypaper.com for venue information) SERENITY When his ex-wife tracks him down begging for his help, a fishing boat captain’s mysterious past comes back to haunt him—but everything is not as it seems. Starring Matthew McConaughey, Anne Hathaway, and Diane Lane. (See washingtoncitypaper.com for venue information) THE UPSIDE A wealthy man with quadriplegia develops a relationship with the person hired to help him— an unemployed man, with a criminal past. Starring Bryan Cranston, Kevin Hart, and Nicole Kidman. (See washingtoncitypaper.com for venue information) WHAT MEN WANT A woman gains a leg up on her male coworkers when she develops the ability to read men’s thoughts. Taraji P. Henson, Josh Brener, and Max Greenfield. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: THURSDAY

PUTNEY SWOPE

Ribald and irreverent, Robert Downey Sr.’s 1969 advertising firm satire Putney Swope is a counterculture touchstone that has influenced everyone from the Coen brothers to Chris Rock. The movie charts the rise of Swope (Arnold Johnson, his voice dubbed by Downey), the only African-American person on the board of a prestigious but stodgy advertising firm. Swope unexpectedly takes over the company after its founder dies in the middle of a pitch meeting, and the new boss burns bridges, throwing out the old guard for Black Power and black comedy. But is the new guard as destructively power-hungry as the old? This is no Mad Men; Downey parodies TV commercials (and the whole political gamut) with an equal outrageousness that’s guaranteed to offend somebody at the same time as it makes you laugh out loud. Watch for Antonio “Huggy Bear” Fargas and a bit part from Mel Brooks. The film screens at 8:30 p.m. at Suns Cinema, 3107 Mount Pleasant St. NW. $8. sunscinema.com.

—Pat Padua

28 february 8, 2019 washingtoncitypaper.com

NEOARCTIC

Scientists have yet to agree on a precise beginning for the Anthropocene epoch—the era in which human activity has significantly impacted the planet’s ecology. Some have argued the beginning was the prehistoric agricultural revolution and others have suggested the Manhattan Project’s 1945 Trinity test. However, artists are already envisioning the future that scientific consensus says we are rapidly approaching. In NeoArctic, a collaboration between Denmark’s artistic incubator Hotel Pro Forma and the Latvian Radio Choir, 12 songs cover 12 landscapes to convey ecotourists traveling through a Northwest Passage reshaped by the climate change and species loss that our increasingly urbanized and digitized lifestyle has caused. The music comes from Latvian orchestral and chamber music composer Krists Auznieks and Mancunian dub and techno producer Andy Stott. Projections, incorporating photography by NASA climate researchers, document these shifting landscapes. The show runs to Feb. 16 at the Kennedy Center Terrace Theater, 2700 F St. NW. $35–$49. (202) 467-4600. kennedy-center.org.

—Ian Thal

SAVAGELOVE Can I still be considered sex-positive if I personally do not have sex? I’ve never had sex or masturbated—all my life, any type of sexual stimulation has been very painful and I’ve been unable to experience orgasm. I simply get a migraine and feel mildly nauseated instead. I am not looking for a possible solution, as I long ago accepted my fate and consequently avoid sex, such as by maintaining only sexless relationships. My question is simply whether I can still be considered sex-positive if I do not enjoy or engage in sexual activity?

—Personally Loathes Unpleasant Sex

I consider myself cunnilingus-positive, PLUS, despite the fact that I could not personally enjoy (and therefore have never engaged in) that particular sexual activity. While I don’t think it would cause me physical pain, I would not be able to experience orgasm myself (through simultaneous self-stimulation) while performing cunnilingus, and my cunnilingus partner would be highly unlikely to experience orgasm, either (due to my ineptness). If I can nevertheless consider myself cunnilingus-positive under the circumstances—if I can consider myself a cunnilingus advocate—you can consider yourself sex-positive.

—Dan Savage About twice a week, my wife gets up from the dinner table to have a shit. She won’t make the smallest effort to adjust the timing so we can finish our dinner conversation. She can’t even wait for a natural break in the conversation. She will stand up and leave the room when I am making a point. Am I rightfully upset or do I just have to get over it? When I say something, she tells me it’s unavoidable.

—Decidedly Upset Man Petitions Savage “Let her have her poop,” said Zach Noe Towers, a comedian in Los Angeles who just walked into the cafe where I was writing this week’s column. “His Miss Pooper isn’t going to change her ways.” I would only add this: Absent some other evidence—aural or olfactory—you can’t know for sure that your wife actually left the room to take a shit. She could be in the bathroom scrolling through Twitter or checking her Instagram DMs. In other words: taking a break from your shit, DUMPS, not shitting herself.

—DS My boyfriend goes to pieces whenever I am the least bit critical. I’m not a scold, and small things don’t bother me. But when he does something thoughtless and I bring it to his attention, he starts beating up on himself and insists that I hate him and I’m going to leave him. He makes a scene that’s out of proportion to the topic at hand, and I wind up having to comfort and reassure him. I’m not sure how to handle this.

—Boyfriend Always Wailing Loudly

Someone who leaps to YOU HATE ME! YOU HATE ME! when their partner wants to constructively process the tiniest conflict is being a manipulative shit, BAWL. Your boyfriend goes right to the self-lacerating (and fake) meltdown so that you’ll hesitate to initiate a discussion about a conflict or—god forbid—really confront him about some selfish, shitty, or inconsiderate thing he’s done. He’s having a tantrum, BAWL, because he doesn’t want to be held accountable for his actions.

And as the parent of any toddler can tell you, tantrums continue so long as tantrums work.

—DS

I have to assume you’re out of the closet—you can’t be a “well adjusted gay man” and a closet case— which means at some point in your life, LSAS, you sat your mom down and told her you put dicks in your mouth.

I’m a well adjusted gay man in my early 40s, but I’ve never found a way to openly enjoy my fetish.

I love white socks and sneakers. The most erotic thing I’ve ever seen is a cute guy at a party asking if he could take his high-tops off to relax in his socks. I’ve been in a couple of long-term relationships, but I’ve never been honest about this fetish with anyone. I’ve thought a lot about why stocking feet turn me on so much, and I think it must have something to do with the fact that if you are close to someone and they want to spend time with you, they are more likely to take their shoes off to relax around you. I’m not sure what to do.

—Loves Socks And Sneaks I have to assume you’re out of the closet—you can’t be a “well adjusted gay man” and a closet case—which means at some point in your

life, LSAS, you sat your mom down and told her you put dicks in your mouth. Telling your next boyfriend you have a thing for socks and sneakers can’t be anywhere near as scary, can it? (There are tons of kinky guys all over Twitter and Instagram who are very open about their fetishes, LSAS. Create an anonymous, kink-specific account for yourself and follow a bunch of kinksters. You need some role/sole models!)

—DS Santorum, DTMFA, pegging, GGG, the Campsite Rule, monogamish—you’ve coined a lot of interesting and useful terms over the years, Dan, but it’s been a while since you rolled out a new one. You can consider this a challenge.

—Neo-Neologisms, Please!

I’ve got two for you, NNP. Harnies (pronounced like “carnies”): vanilla guys who attend big gay leather/rubber/ fetish events like International Mr. Leather or Folsom Street Fair in harnesses. A harnie owns just one piece of fetish gear—his harness, usually purchased on the day of the event, often in a neon color, never to be worn during sex—and pairs his harness with booty shorts and sneakers. Kinky guys old enough to remember when vanilla guys wouldn’t be caught dead at fetish events prefer having harnies around to the kink-shaming that used to be rampant even in the gay community. And most kinky guys are too polite to tell harnies that harnesses aren’t merely decorative. Someone should be able to hold on to your harness while they’re fucking you or add ropes if they want to tie you down. So if your harness is made out of stretchy fabric—like lime-green Lycra—then it’s not a harness, it’s a sports bra. Kinky guys are also too polite to tell harnies when they’re wearing their harnesses upside down or backward.

With Extra Lobster: There are food carts in Iceland that sell delicious lobster stew, lobster rolls, and lobster sandwiches. The menu at the cart my husband and I kept returning to when we visited Reykjavík included this item: “With Extra Lobster.” You could order your lobster with extra lobster! Lobster is a luxurious and decadent treat, and getting extra lobster with your lobster kicks the luxury and decadence up a big notch.

“With extra lobster” struck me as the perfect dirty euphemism for something. It could be something very specific—say, someone sticks their tongue out and licks your balls while they’re deep-throating your cock. We could describe that as a blowjob with extra lobster. Or it could be a general expression meaning more of whatever hot thing gets you off. I’m open to your suggested definitions of “with extra lobster.” Send them to mail@savagelove.net!

—DS

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INCLUDE THE NAME OF THE Persons believed to be DISSOLVED CORPORATION, heirs or THE legatees INCLUDE NAME ofOFthe THE decedent who doA not CLAIMANT, INCLUDE SUMMAreceive copy SUPPORTING of this RY OF THEaFACTS notice

by AND mailBEwithin THE CLAIM, MAILED25 TO 1600 of INTERNATIONAL DRIVE, days its publication SUITE 600, MCLEAN,the VA 22102 shall so inform Register of Wills, including ALL CLAIMS WILL and BE BARRED name, address reUNLESS A PROCEEDING lationship.

Date of firstTO ENFORCE THE CLAIM IS COMpublication: 2/7/2019 MENCED WITH IN 3 YEARS OF Name of Newspaper PUBLICATION OF THIS NOTICE and/or periodical: IN ACCORDANCE WITH SECTION Washington City Paper/OF 29-312.07 OF THE DISTRICT Daily Washington Law COLUMBIA ORGANIZATIONS ACT. Reporter Name of Person RepreTwo Rivers PCS is soliciting sentative: Naseer Azeez proposals to provide project manaka Naseer agement servicesMohamed for a small conAzeez struction project. For a copy of the RFP, please email procurement@ TRUE TEST copy tworiverspcs.org.

Anne Meister Deadline for submissions is December 6, 2017.

Register of Wills Pub Dates: February 7, 14, 21.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000060 Name of Decedent, Rickey Recardo Pharr Sr. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Anthony Baker,

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

You may contact the classifieds rep by emailing classifieds@washingtoncitypaper.com or calling 202-650-6941.

whose address is 202 Legals 37th St., SE, Washington, DC 20019 was DC SCHOLARS PCS REQUEST appointed Personal FOR PROPOSALS – ModuRepresentative of the lar Contractor Services - DC estate Rickey Recardo Scholars of Public Charter School Pharr who for died on solicits Sr. proposals a modular 12/13/18, without a Will contractor to provide professional and will serve management and without construction servicesSupervision. to construct a modular Court All building to house four classrooms unknown heirs and heirs and one faculty offi ce suite. The whose whereabouts Request for Proposals are unknown shall (RFP) specifi cations can be obtained on enter their appearand after Monday, November 27, ancefrom in this 2017 EmilyproceedStone via coming. Objections to such munityschools@dcscholars.org. appointment shall All questions should bebe sent in filed the No Register writingwith by e-mail. phone calls regarding RFP515 will 5th be acof Wills, this D.C., cepted. Bids must Building be received by Street, N.W., 5:00 PM on Thursday, December A, 3rd Floor, Washing14, 2017 at 20001, DC Scholars ton, D.C. on Public or Charter School, ATTN: Sharonda before 8/7/19.

Claims Mann, 5601 E. Capitol St. SE, against the Washington, DCdecedent 20019. Any bids shall be presented not addressing all areas to as outthe with awill lined undersigned in the RFP specifi cations copy to the Register of not be considered.

Wills or to the Register of Wills with a copy Apartments for to Rent the undersigned, on or before 8/7/19, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, Must see!and Spacious semi-furaddress relationnished Date 1 BR/1 BA basement ship. of first publiapt, Deanwood, $1200. Sep. encation: 2/7/2019 trance, W/W carpet, W/D, Name of Newspaper kitchen, fireplace near Blue Line/X9/ and/or periodical: V2/V4. Shawnn 240-343-7173.

Washington City Paper/ Daily Washington Law Rooms for Rent Reporter Name of Person Holiday Special- RepTwo furresentative: nished rooms forAnthony short or long Baker term rental ($900 and $800 per TRUE copy to W/D, month) TEST with access WiFi, Anne Kitchen, Meisterand Den. Utilities included.

N.E. location Register of Best Wills along H St. Corridor.

Call Eddie Pub Dates: February 7, 202-744-9811 for info. or visit 14, 21. www.TheCurryEstate.com

KIPP DC PUBLIC Construction/Labor CHARTER SCHOOLS REQUEST FOR PROPOSALS Construction Management Services KIPP DCDESIGN is soliciting POWER NOW HIRproposals from qualified ING ELECTRICAL APPRENTICES OFfor ALL SKILL LEVvendors ConstrucELS! tion Management Services. The RFP can the position… beabout found on KIPP DC’s Do you at lovewww.kipworking with website your hands? Are you interpdc.org/procurement. ested in construction and Proposals should be in becoming an electrician? uploaded to theapprentice website Then the electrical noposition later could than be 5:00 PMfor perfect EST, February 27, you! on Electrical apprentices are able to earn a paycheck 2019.

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Wholistic Services, Auctions Inc. is looking for dedicated individuals to work as Direct Support Professionals assisting intellectually disabled adults with behavioral health issues in our group homes and day services throughout the District of Columbia.

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Looking to Rent yard space for hunting dogs. Alexandria/Arlington, VA area only. Medium sized Michael F Beatson, dogs will be well-maintained in CPA temperature controled dog housTax and care es. I preparation have advanced animal bookkeeping services experience and dogs will be rid michael.beatson@beatfree of feces, flies, urine and oder.

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personnel and baggage, Events courier and banking services, among others.

Christmas Spring This is a in FTSilver position Saturday, December 2, 2017 with benefts.

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Further requirements, Proceeds from the and market will documentation subprovide a “wish” toy for children mission of applications in need. Join us at your one stop at BNC’s Web Page shop for everything Christmas. www.cnbw.mar.mil.br.

For more information, contact Submission of applicaFutsum, tions from February 06 or info@leadersinstitutemd.org to February 20, 2019. call 301-655-9679 Any questions at Tel: General 202-244-3950 Ext 121.

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PUZZLE GO-ING PLACES

By Brendan Emmett Quigley

Across

1 Classic font 6 Leg up 11 Polar vortex city, for short 14 Indian metropolis 15 Cooler name 16 Babe, by another name 17 Weed sold in a London suburb?

19 Antlered grazer 20 Banned pollutant initials 21 Like chocolate chip cookies just out of the oven 22 Without thinking 24 Group that routinely has hits?

26 Untouched 27 People of China's capital engage in fisticuffs?

33 Some dice rolls 36 It can help you get rid of your shit 37 Tierra Whack song 38 Picks up the check 39 Krispy Kreme purchase 40 Type of bean 41 Snack food company whose mascot is a girl wearing a red bow

42 Rattan weaver 43 The Highwayman poet, whose name is two opposite words 44 Nomad from an eastern Pennsylvania city?

47 "Bad driver, coming through!"

48 Fighting force 52 Circus opening?

54 Line of text?

57 Kenosha's st.

58 Farmers Insurance Open org.

59 Sunfish in Michigan's capital?

62 Student with an @yale. edu address 63 Bottled water brand 64 New York city 65 One reminiscing over old NES games 66 Tasty 67 Bizonkers

Down

1 Very skilled 2 Achieve

3 "How about that!"

4 Fancy tuna 5 Peculiar talk 6 NBA legend Oscar Robertson's nickname, with "The" 7 Gruesome beast 8 Big name in moisturizers 9 "That sinking feeling" letters 10 Laptop innovator 11 It can test for pneumonia

12 News anchor Lester 13 Light blue PacMan ghost 18 Desert in the Silk Road 23 Four terms of Spanish 101?

25 Brit. awards 26 "Kids" band 28 Ken of The Hangover movies 29 Not external 30 Prefix to surgeon 31 Gutter spot 32 Mud bath rooms 33 Urge (on) 34 "None for me, thanks" 35 Scandal during John Adams' presidency, with "The" 39 Ophelia or Hamlet, e.g.

40 Bit of paperwork 42 Round figures 43 Shooter of soft bullets 45 i piece 46 Puffed up 49 Mark time 50 Othello pieces 51 Test 52 Eyewear, in ads 53 Look over 54 [removed from the email] 55 Character actor Morales 56 Bacon part 60 "Sweet But Psycho" singer ___ Max 61 AC meas.

LAST WEEK: TALES OF HIGH CRIMES 5 $ 3 , ( 5

$ 0 2 1 5 $

+ 2 7 ' , 3

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6 7 2 2 ' + $ : . ( % 2 , / ( 5 0 ( , ( .

6 0 2 . , 1 2 ( 1 $ 5 & 6 , 1 7 & 8 6 $ * 2 2 $ $ 5 6 6 ) , 5 ( $ 6 , 1 - $ 0 ( . , 1 , 1 $ 6 ( ; ( 1

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Robert Beatson II Attorney/Accountant Former IRS Attorney Admitted to DC, MD, VA, NY Bars. All types of Federal, State, Local, & Foreign taxes 301-340-2951 www.beatsonlaw.com

CASH FOR RECORDS AND CDS. TOP PRICES PAID. No collection too large or small. Will make house calls. Call or text Steve at 301 646 5403 So my current phone is on death’s door and I cannot afford the phone I want (a Samsung Note 9) so I’m getting creative...

I am looking for someone in the same situation looking to take advantage of the Verizon Samsung Note 9 BOGOish deal. We would meet at the Union Station Verizon store and get our phones.

I: am getting a Note 9.

You: can get a Galaxy S9 at no additional cost OR $800 credit to purchase another Note 9.

You: MUST put half the purchase price (including taxes) on your card OR pay for it in cash You: MUST activate YOUR phone on your own account We: both walk out of the store with the expensive phones we want If you get the S9 you save around $200 If you get the Note 9 you save about $300 all in all its a good deal...especially if you like to pay for the phone upfront I’m guessing this deal expires soon so I’d like to do this sometime in the next week or so... kristyhunt.is.thatgirl@ gmail.com8 Attention Viagra users: Generic 100 mg blue pills or Generic 20 mg yellow pills. Get 45 plus 5 free $99 + S/H. Guaranteed, no prescription necessary.

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Fellow proggersI’ve been giving this project serious thought since the summer.

Looking for musicians to form a Prog band (mostly covers) for the love of the music and performing it. The reality is the gig pay and number of gigs will be limited especially in the beginning of getting out there. So, in short, if you are looking for income, this is not the venture for you. :) Me....Easy going keyboardist and my primary influence is Tony Banks.

No vocal ability and I consider myself to be a decent (not great) keyboardist. I have played in Classic Rock,

Who Tribute, and Blues Rock bands since the 80’s. I have a practice space with PA and basic drum set.

In need of drums, guitar (possibly 2 (lead and rhythm)), bass, and male vocals (possibly female too) You .... plays and or sings well and “”plays well with others”” . Reliable and responsible.

The Band .... no drama, in it for the music, not $$, and great stage energy.

Interested? ......send your background info (bands, instruments,any videos or soundfiles, etc). I envision a couple of months before the right mix of musicians evolves.

Thanks for looking Tom

I LOVE HISTORY I love history and I am looking to make friends with the same interest. I work at a major research institution and live at Dupont Circle.

Contact: Stevenstvn9@ aol.com Lung Cancer? And Age 60+? You And Your Family May Be Entitled To Significant Cash Award. Call 844898-7142 for Information. No Risk. No Money Out Of Pocket.

The Christ (aka: Maitreya Buddha, the Mahdi, Messiah, Krishna) will soon speak to everyone. He won’t send anyone to hell & is inspiring major world changes that will lead to international cooperation & world peace. www.Share-International.org Hey Boss: Contact Alicia Weber For a musical tune “Outer Jam” For Alicia’s address Call James Kelly West, 703-751-3786.

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